PRmCETON,  N.  J. 


Section 
Numbei\ 


r 


MUSIC 

OF 

THE  BIBLE. 


Digitized  by  the  Internet  Archive 
in  2015 


I 


https://archive.org/details/musicofbibleOOhutc 


MUSIC  OF  THE  BIBLE; 

OB, 

EXPLAMTOKY  NOTES 

XJPON  THOSE 

PASSAGES  U  THE  SACRED  SCRIPTURES  WHICH 
RELATE  TO  MUSIC, 

INCLUDING  A 


ENOCH  HUTCHINSON. 


BOSTON: 
GOULD    AND  LINCOLN, 

59    ■WASHINGTON  STEKET. 

NEW  YORK:  SHELDON  AND  COMPANY. 
CINCINNATI:  GEORGE  S.  BLANCHAED. 
1864. 


Entered  according  to  Act  of  Congress,  in  the  year  1863, 

By  ENOCH  HUTCHINSON, 

[n  the  Clerk's  OflBce  of  the  District  Court  of  the  United  States,  for  the 
Southern  District  of  New  York. 


PEEFATOEY  EEMAEKS. 


The  music  of  the  ancient  Hebrews  is  yet  imperfectly 
understood,  thougli  the  subject  has  been  investigated 
by  Calmet,  Taylor,  Pfeiffer,  Saalchutz,  Harenberg,  Wi- 
ner, Jahn,  Eeland,  De  Wette,  Yilloteau,  and  other  dis- 
tinguished scholars.  Many  of  the  terms,  in  the  Sacred 
Scriptures,  relating  to  the  art,  are  obscure,  chiefly,  no 
doubt,  from  the  fact  that  their  antiquity  is  so  great,  that 
critical  and  authentic  explanations  of  them  have  not 
reached  our  times,  from  a  sufficiently  early  period  to 
inspire  confidence  in  their  accuracy.  It  is  perhaps  im- 
possible, in  the  present  state  of  Oriental  philology,  to 
give,  in  every  instance,  a  satisfactory  translation  of 
them ;  still,  by  a  careful  examination  of  their  etymol- 
ogy, and  of  the  probable  resemblance  between  the  in- 
struments designated  by  them,  and  those  found  sculp- 
tured upon  the  ruins  of  ancient  temples  on  the  Nile 
and  Euphrates,  we  can  approximate,  we  think,  nearly 
to  their  true  signification. 

In  the  following  pages  the  writer  has  endeavored  to 

present  a  general  view  of  the  subject,  and  yet  one 

sufficiently  critical,  to  secure,  to  some  extent  at  least, 

the  confidence  of  the  learned 
(ix) 


X  PREFATOKY  REMARKS. 

As  the  Poetry  of  the  ancient  Hebrews  has  been, 
from  its  earliest  existence,  intimately  connected  with 
music,  it  was  thought  that  it  would  not  be  inappro- 
priate to  give,  in  connection  with  an  account  of  the 
latter,  a  brief  general  view  of  the  former,  and  in  so 
doing,  it  seemed  best,  on  the  whole,  to  present  copious 
extracts  from  the  most  interesting  poems  of  the  sacred 
writers,  rather  than  mere  references  to  them,  though 
the  length  of  some  quotations,  which  could  not  be 
divided  without  marring  their  beauty,  has  swelled  the 
pages  of  this  volume  more  than  was  originally  in- 
tended. 

That  this  slight  contribution  to  biblical  literature 
may  aid,  in  some  small  degree,  to  elucidate  the  sacred 
text  and  advance  the  glory  of  our  common  Lord,  is 
the  earnest  desire  and  prayer  of 

THE  AUTHOK. 

New  Yoke,  Nov,  1863. 


CONTENTS. 


PlLBFATORT  ReMAEKS,               ...             -             .  .  9 

Iktrodtjction,      -         -         -          -         -         •         -  16 

Origin  of  Music,     -         -         -         -         -         -  -16 

Primeval  State  of  Mankixd,    .         -         .         -         -  18 
Locality  of  Moltnt  Ararat,          -----  18 

Settlemext  of  the  Sons  of  Noah,       -         -         -         -  21 

Early  Settlemext  of  Babtlox  and  Babyloxia,    -         -  -  30 

Early  Settlement  of  Assyrla.,  -----  36 

Early  Settlement  of  Chald^,     -         -         -         -  -  41 

Locality  of  Nineveh,     ------  44 

Early  Settlemext  of  Greece,       -----  46 

Early  Settlement  of  China,    -----  48 

Early  Settlement  of  India,  .         -         ...  50 

Music  of  Modern  India,           .....  53 

Early  Settlement  of  Egypt,  55 

Music  of  Ancient  Egypt,         .....  58 

Ruins  of  the  Temple  of  Dent)Eeah,          -         -         -  -  66 

Ruins  of  MEMPms  and  Thebes,           -         -         -         -  65, 67 

Pentateuch,  -------  -  75 

Introductory  Remarks,  75 

Introductory  Remarks  to  the  Book  of  Genesis,           -  -  77 

Book  of  Genesis,          ------  78 

Jural  the  In-vektor  of  the  Harp  and  Organ,     -         -  -78 

-Origin  of  the  Harp,      ......  80 

Origin  of  Stringed  Instruments  of  Music,         .         .  -  80 

^Origin  of  Percussion  Instruments  of  Music,  -         -         .  96 
Cxi) 


xii  CONTENTS. 


Introductory  Remarks  to  the  Book  of  Exodus,  -         -  - 

101 

Book  of  Exodus,  - 

102 

Origin  of  Dancing,  -         -         -  - 

106 

Origin  of  the  Trumpet,           _         _         .          .  . 

m 

Introductory  Remarks  to  the  Book  of  Leviticus, 

115 

Book  of  Leviticus,  - 

115 

Introductory  Remarks  to  the  Book  of  Numbers, 

119 

The  Book  of  Numbers,  ------ 

119 

Tabernacle,  -------- 

124 

Introductory  Remarks  to  the  Book  of  Deuteronomy, 

131 

Book  of  Deuteronomy, 

132 

Introductory  Remarks  to  the  Historical  Books  of  the  Old 

Testament,    .          -          -                    _          _  _ 

135 

Introductory  Remarks  to  the  Book  of  Joshua,  - 

136 

Book  of  Joshua,  ------- 

137 

Introductory  Remarks  to  the  Book  of  Judges,  - 

142 

Book  of  Judges,  - 

421 

Book  of  Ruth, 

152 

Introductory  Remarks  to  the  Books  of  Samuel, 

153 

First  Book  of  Samuel,  - 

154 

Schools  of  the  Prophets,        -         .         .         .  _ 

155 

Ancient  Hebrew  Guitar,  - 

157 

Tele  Shalishim, 

166 

Introductory  Remarks  to  the  Second  Book  of  Samuel, 

171 

Second  Book  of  Samuel,  - 

171 

Ancient  Hebrew  Cornets,  ------ 

174 

Ancient  Hebrew  Cymbals,                           -         -  - 

175 

Introductory  Remarks  to  the  Books  of  Kings,  -         -  - 

186 

First  Book  of  Kings,  ------ 

186 

Ancient  Hebrew  Flutes,    -  -         -         -         -  -187 

Introductory  Remarks  to  the  Second  Book  of  Kings,        -  190 
Second  Book  of  Kings,      -         -         -         -         -  -190 

Introductory  Remarks  to  the  First  and  Second  Books  of 

Chronicles,  -------  193 

FmsT  Book  of  Chronicles,  -         -         -         -         -  -194 


CONTENTS.  Xiii 

Prophesying  with  Instruments  of  Music,        .         .         -  206 

Second  Book  of  Chronicles,          .          .          _          .  _  206 

Dedication  of  Solomon's  Temple,        .         _         -         -  208 

Ancient  Hebrew  Vocal  Music  by  Females,         -          -  -  218 

Book  of  Ezra,  219 

Building  of  the  Second  Temple,    -----  221 

The  Book  of  Nehemiah,           -  224 
Introductory  remarks  on  the  Poetical  Books  of  the  Old 

Testament,        -  231 

Hebrew  Poetry,  General  View  of,     -         -         -  232 

Prophetic  Poetry,  234 

Introductory  Remarks  to  the  Book  of  Job,  -         -         -  261 

Poetic  Character  of  the  Book  of  Job,       -      -          -  -  263 

Plot  of  the  Poem  Contained  in  the  Book  of  Job,    -         -  268 

Introductory  Remarks  to  the  Book  of  Psalms,  -          -  -  297 

Poetic  Character  of  the  Book  of  Psalms,  .          -          -  -  299 

The  Term  Selah,  Signification  of,       -          -          -          -  309 

Titles  of  the  Psalms,            -          -          -          -          .  .  312 

Penitential  Psalms,       -          -         -         -         -         -  316 

Alphabetical  Psalms,         -  336 

Songs  of  Degrees,         ------  391 

A  Spurious  Psalm,  -------  400 

Introductory  Remarks  to  the  Book  of  Proverbs,     -          -  402 

Poetry  of  the  Book  of  Proverbs,            -          -          -  -  403 

Introductory  Remarks  to  the  Book  of  Ecclesiastes,          -  405 

Introductory  Remarks  to  the  Song  of  Solomon,           -  -  409 

Introductory  Remarks  to  the  Prophecy  of  Isaiah,  -         -  413 

Prophetic  Poetry,    -          -          -          -          -          -  -413 

Introductory  Remarks  to  the  Prophecy  of  Jeremiah,         -  424 

Lamentations  of  Jeremiah,  ------  428 

Plaintive,  Poetic,  and  Musical  Character  of  the  same,      -  428 

Introductory  Remarks  to  the  Prophecy  of  Ezekiel,     -  -  432 

The  Prophecy  of  Daniel,         -----  437 

Babylonish  band  of  Musicians,      -----  439 

Book  of  Hosea,  -                                                         -  442 


xiv  CONTENTS. 

Book  of  Joel,  445 

Book  of  Amos,    -------  449 

Book  of  Habakkuk,  -------  453 

Book  of  Zehpaniah,       -         -         -         -         -         -  456 

Book  of  Zechariah,            ------  458 

Poetic  and  Musical  Character  of  the  New  Testament  Scrip- 
tures, 460 
Poetic  and  Musical  Character  of  the  Historical  Books  of  the 

New  Testament,  -         -         -         -         -  -461 

The  Gospel  by  Matthew,         -         -         -         -         -  461 

The  Gospel  by  Mark,        ------  463 

The  Gospel  by  Luke,     ------  464 

Acts  of  the  Apostles,        ------  468 

Epistle  of  Paul  to  the  Romans,         .          -          -         -  469 

First  Epistle  of  Paul  to  the  Corinthians,         -         -         -  470 

Epistle  of  Paul  to  the  Ephesians,      -          -         -         -  473 

First  Epistle  of  Paul  to  the  Thessalonians,      -         -          -  474 

Epistle  of  Paul  to  the  Hebrews,       -         -         -         -  476 

Introductory  Remarks  to  the  Apocalypse,         -         .          .  473 

Poetic  and  Musical  Character  of  the  Apocalypse,  -         -  479 


ILLUSTRATIONS. 

FIGXIKE  PAGE 

L  Grand  Musical  Extertaen'ment,  taken  from 

THE  Ruins  of  Egypt.   4 

n.  BouNDAW.  OR  Bur:hese  Dridis  

ni.  Ta-Taw.  or  Burmese  Violin   55 

IV.  Ancient  Egyptian  Dichord  Guitar   63 

V.  Ancient  Egyptian  Harp   83 

VI.  Four  other  Ancient  Egyptian  Harps   83 

Vn.  Ancient  Theban  Harp   84 

VIM.  Ancient  Ornamented  Egyptian  Harp   85 

IX.  Another  Ornamented  Egyptian  Harp   85 

X  Three  Ancient  Theb.ajs'  Boa^--Shaped  Harps.  . .  85 

XI.  Ancient  Cithara  with  Three  Strings   86 

XH.  Ancient  Cithara  with  Eight  Strings   86 

XHI.  Ancient  Hahf  from  the  Ruins  of  Hergula- 

neum   86 

XTV.  Two  Grant)  Egyptian  Harps   87 

XV.  Three  Figures  supposed  to  represent  Josephs 

Brethren,  one  of  whom  is  playing  upon  an 

Ancient  Lyre  of  Four  Strings   88 

XVI.  Three  Ancient  Egyptian  Lyres   88 

XVH.  Two  Ancient  Egyptian  Lyres  found  in  the 

Leyden  Collection   89 

XVHI.  Ancient  Guit.ui.  Lute,  and  Ar-\bian  Tan-rur..  90 
XIX.  Three  Egyptian  Stringed  Instruments  of  the 

Lute  Class,  with  Xecks   90 

XX.  Three  Ancient   Egyptian  Stringed  Instru- 
ments of  the  Guitar  Class   91 

XXI.  Pipe  of  Pan   93 

(vn) 


Viii  ILLUSTRATIONS. 

FIOTTRK  PAGB 

XXII.  Two  Ancient  forms  of  the  Organ   94 

XXni.  Ancient  Toph  or  Tabret,  taken  from  the 

Ruins  at  Herculaneum   98 

XXIV.  Two  Ancient  Tambourines,  one  Angular  and 

THE  OTHER  CIRCULAR   98 

XXV.  Five  Ancient  Egyptian  Sistra    op  various 

FORMS   99 

XXVI.  Four  other  Forms  of  Egyptian  Sistra   99 

XXVII.  Ancient  Egyptian  Pulsatile  Instruments   100 

XXVni.  Three  Forms  op  Ancient  Egyptian  Drums   100 

XXIX.  One  Ancient  Egyptian,  and  Three  Modern 

Oriental  Drums   100 

XXX.  Four  Forms  op  the  Ancient  Hebrew  Shovhar 
OR  Crooked  Trumpet,  and  one  Straight 

Trumpet   109 

XXXI.  Two  Hebrew  Straight  Trumpets.  Engraved 

ON  an  Ancient  Coin   120 

XXXn.  Two  OTHER  Straight  Trumpets  Engraved  on 

AN  Ancient  Coin   131 

XXXni.  Ancient  Guitar  (NebheV)  op  the  Hebrews   158 

XXXIV.  Four  Ancient  Egyptian  Guitars  (Mbhels)  taken 

FROM  THE  Ruins  op  Egypt   IGO 

XXXV.  Double  Arabian  Flute   161 

XXXVI.  Two  Ancient  Egyptian  Reed  Pipes  161 

XXXVII.  Four  Egyptian  Pipes  or  Flutes  161 

XXXVin.  Two  Larger  Ancient  Egyptian  Cymbals  176 


MUSIC  OF  THE  BIBLE. 


lOTEODUCTIOK 

In  ancient  times  tlie  signification  of  the  term  music 
was  far  more  comprehensive  than  it  is  at  present.  It 
included  dancing,  gesture,  poetry,  and  sometimes  the 
aggregate  of  all  the  sciences.  Hence  philosophers  were 
accustomed  to  speak  of  music  human,  divine,  terrestrial, 
celestial,  active,  contemplative,  enunciative,  intellectual, 
and  oratorical.  Many  passages  of  the  early  writers  upon 
the  subject,  would  be  entirely  unintelligible,  did  we  not 
understand  them  as  including,  in  the  term,  these  ideas. 
Some  also  in  tnodern  times  have  similar  conceptions. 
The  Chinese  speak  of  music  as  the  science  of  the  sciences 
— as  the  means  of  acquiring,  and  as  lying  at  the  founda- 
tion of  every  other  species  of  knowledge.  The  union  of 
Cadmus  and  Hermione  in  marriage,  would  seem  to  pre- 
sent all  the  sciences  as  having  received  their  birth  by 
the  combined  influence  of  music  and  letters. 

Rosseau  asserts  that  music  is  the  art  of  combining 
tunable  sounds  in  a  manner  agreeable  to  the  ear. 
Aristides  Quintilianus  defines  it  to  be  the  art  of  finding 
the  beautiful  and  decorous  in  musical  tones,  and  in  their 
measure.     Pfeifi'er,  a  n^^'^d  German  writer,  remarks 


16 


INTEODUCTION. 


that  those  seem  to  be  about  rigbt,  who  think  we  shall 
never  arrive  at  certainty  in  respect  to  ancient  music  in 
general,  and  especially  in  reference  to  that  of  the  ancient 
Hebrews.  Tlie  subject  is  indeed  fraught  with  peculiar 
difficulties,  still  facts  and  considerations  of  an  interesting 
nature  may  be  presented  which  will  throw  some  light 
npon  it. 

It  is  possible  that  music  may  be  the  oldest  of  all  the 
fine  arts.  It  is  supposed  by  some  to  have  been  invented 
by  the  Muses,  which  opinion  would  indicate  that  it 
originated  in  the  north  of  Greece.  Kircher  derives  the 
term,  indicating  the  art,  from  an  Egyptian  word,  believ- 
ing that  music  began  to  be  cultivated  first,  after  the 
deluge,  upon  the  Mle.  It  is  thought  that  vocal  must 
have  preceded  instrumental  music.  In  the  earliest  times, 
a  difference  in  the  tones  of  the  human  voice  must  have 
been  discovered,  as  well  as  a  variety  of  notes  among  the 
feathered  tribe.  Many  of  the  ancients  attributed  the 
invention  of  the  art  to  the  Egyptian  Mercury.  Othei*s 
have  intimated  that  the  Greeks  received  it  from  Cadmus, 
when  he  fled  from  the  court  of  Phoenicia,  carrying  with 
him  Hennione  or  Harmony.  In  Plutarch's  dialogue  on 
music,  Lysias  is  made  to  say  that  it  was  invented  by 
Amphion ;  in  another  place,  Soterius  informs  us  that 
Apollo  invented  it,  and  in  a  third  passage,  the  honor 
seems  to  be  given  to  Olympus.  Following  these 
supposed  inventors  were  Chiron,  Demodocus,  Hermes, 
Lycnrgus,  Thales  and  Tliamyris,  who  are  said  to  have 
invented  something  in  reference  to  it.  Most  of  these 
musicians  lived  before  the  time  of  Homer. 

Kosseau  informs  us  that  in  none  of  the  numerous 
works,  which  he  had  consulted  on  the  subject,  had  the 


ORIGIN  OF  MUSIC. 


17 


derivation  of  ihe  term  denoting  music,  or  the  inventor  of 
the  art,  "been  settled  to  satisfaction.  He  supposed  tliat 
the  cries  of  nature  must  have  suggested  it  before  lan- 
guage was  invented. 

Tliis  is  its  probable  origin,  though  we  have  no  absolute 
proof  of  the  fact ;  nor  is  it  very  material  whether  the 
cries  of  birds  or  of  the  human  voice,  or  wind  blowing 
through  reeds,  first  suggested  the  idea.  It  certainly 
exists,  and  did  exist  in  very  early  times,  as  it  is  men- 
tioned in  our  most  ancient  records,  and  a  knowledge  of 
it  has  been  handed  down  by  tradition  from  an  earlier 
period  still.  AVe  know  not  who  uttered  the  first  note  of 
regular  music.  We  only  have  e%ddence  from  the  sacred 
scriptures  that  musical  instruments  were  used  before 
the  deluge,  and  belie^-ing  that  vocal  preceded  instru- 
mental music,  we  infer  that  the  former  as  well  as  the 
latter  existed  among  the  Antediluvians,  but  how  long 
previously  to  the  deluge,  we  cannot  ascertain. 

To  learn  the  signification  of  the  various  musical 
terms  employed  by  the  sacred  writers,  it  is  important  to 
inquire  what  was  the  music  of  the  ancient  Hebrews,  and, 
in  order  to  answer  that  question,  we  must  allude  to  tlie 
history  of  countries  lying  adjacent  to  that  of  the  Hebrews, 
as  the  latter  must  have  been  influenced  more  or  less,  in 
respect  to  the  arts  and  sciences,  by  their  immediate 
neighbors.  These  were  the  ancient  Babylonians, 
Chaldaeans,  Assyrians  and  Egyptians.  Some  suppose 
that  it  is  also  necessary  to  inquire  into  the  state  of 
ancient  and  modern  music  in  India,  as  it  is  thought  that 
the  Egyptians  received  many  of  their  ideas  of  the  arts 
and  sciences  from  that  country. 

We  cannot,  within  the  limits  of  this  introduction,  enter 


18 


INTEODUCTION-. 


fully  upon  tlie  investigation  of  these  points  ;  but  sliall  only 
be  able  to  give  a  general  view  of  the  subject. 

It  is  very  difficult  to  find  well-authenticated  facts  in 
reference  to  the  state  of  the  arts  and  sciences  in  either  of 
the  ancient  countries  referred  to  above.  There  is  much 
obscurity  even  in  respect  to  the  earlier  music  of  Greece 
and  Rome.  But  when  we  push  our  inquiries  back  still 
farther  to  the  ancient  Hebrews,  Egyptians,  and  especially 
to  the  first  inhabitants  of  the  earth  after  the  deluge,  the 
rays  of  light  which  penetrate  the  darkness,  are  very  faint 
and  few.  Let  us,  however,  ascertain,  if  possible,  what 
that  light  is. 

In  order  to  trace  the  first  dawnings  of  the  light  of 
science  and  the  arts,  we  must  necessarily  give  a  brief 
view  of  the  early  history  of  mankind. 

A  consideration  of  the  primeval  state  of  our  race,  from 
the  creation  to  the  deluge  and  immediately  after  that 
signal  event,  is  fraught  with  peculiar  interest  though 
clouds  of  darkness  seem  to  rest  upon  the  subject.  True, 
mythology,  with  its  fragments  of  fabulous  history,  comes 
to  our  aid  ;  but  in  many  cases  it  increases  the  obscurity. 
Our  only  true  guide  is  the  sacred  volume,  and  that  is 
extremely  brief.  The  following  is  probably  the  correct 
view. 

We  read  in  Gen.  ix.  20,  that  Noah  planted  a  vine- 
yard soon  after  he  came  from  the  ark.  It  is  probable 
that  this  was  in  the  immediate  vicinity  of  Mount  Ararat,* 

^  Yarioiis  opinions  have  "been  advanced  in  reference  to  the 
locality  of  this  mountain.  In  almost  every  part  of  the  East 
where  there  is  a  tradition  of  the  deluge,  the  inhabitants  locate 
it  in  their  own  country.  The  Afghans  believe  that  it  was  iden- 
tical with  their  Sufued Koh,  or  "  White  Mountain.'^  The  inhab- 


SETTLEMENT  OF  THE  SONS  OF  NOAH. 


as  nothing  is  said  of  removing  to  another  land.  It  seems 
that  the  family  first  settled  there,  for  IJsoah  not  only 

itants  of  Ceylon  maintain  that  it  was  their  "  Adam's  Piak."^ 
It  is  a  remarkable  circumstance  that,  in  the  Samaritan  Penta- 
teuch (Gen.  viii.  4),  it  is  called  Sarandib,  the  Arabic  name 
for  Ceylon.  The  Sibylline  verses  assert  that  it  was  in  Phrygia. 
Shuckford  and  Sir  AValter  Raleigh  placed  it  farther  east  in  the 
Caucasian  range  of  mountains.  But  what  say  the  inspired 
writers  upon  this  subject  1  In  Gen.  viii.  4,  the  ark  is  said  to 
have  rested  upon  the  mountains  of  Ararat.  Here  the  term 
Ararat  indicates  a  country  on  whose  mountains  the  ark  rested. 
In  second  Kings,  xix.  37,  (taken  from  Isa.  xxxvii.  38),  Ar- 
menia, which  is  supposed  to  be  the  country  once  called  Ararat, 
is  named  as  the  land  whither  the  sons  of  Sennacherib,  King  of 
Assyria,  fled,  after  they  had  murdered  their  father.  In  Jer. 
li,  27,  Ararat  is  mentioned  as  a  kingdom  in  connection  with 
Minni  and  Ashkenaz,  and  the  three  are  called  upon  to  arm 
themselves  against  her.  In  Isa.  xiii.  2-4,  there  seems  to  be  a 
reference  to  the  same  contest  with  Babylon,  and  those  who 
marched  against  her  are  said  to  have  issued  from  the  mountains. 
Then  if  we  consider  that  Minni  was  probably  Minyas  in  Arme- 
nia, (vid.  Joseph.  Antiq.  i.  iii.  6),  and  that  Ashkenaz  was  per- 
haps a  country  on  the  Euxine  sea  named  after  a  son  of  Gomer 
(Gen.  x.  2,  3),  from  whom  the  Cimmerians  originated  ;  we  must 
conclude  that  Ararat  was  a  mountainous  country  north  of  As- 
syria and  very  probably  Armenia.  The  sons  of  Sennacherib 
seem  to  have  fled  to  a  place  beyond  the  limits  of  Assyria.  It 
may,  however,  have  been  near  and  was  probably  Armenia.  There 
is  a  tradition  that  Sennacherib's  sons  were  cordially  received 
by  king  Paroyr,  who  assigned  them  lands  bordering  on  iVssyria. 
(vid.  Avdall's  Trans,  of  Chamich's  Hist,  of  Armenia.  Vol.  i.  pp. 
33,  34).  In  Eze.  xxxviii.  6,  Togarmah,  a  part  of  Armenia,  is 
mentioned  in  connection  with  Gomer.  Moses  of  Chorene  has 
preserved  a  tradition  that  the  name  of  Ararat  was  derived 
from  Arai,  the  eighth  of  the  native  princes  who  was  killed  in  a 
battle  with  the  Babylonians  B.  C.  1750.  From  these  consid- 
erations it  is  very  probable,  as  is  generally  believed,  that 
Ararat  was  in  Armenia.  Still  we  cannot  determine  with 
certainty  on  what  mountain  of  Armenia  the  ark  rested.  It  is 
maintained  by  some  eminent  scholars  that  it  did  not  rest  upon 


20 


INTEODUCTION. 


planted  a  vineyard  but  drank  of  its  wine,  and  his  three 
sons  are  mentioned  as  living  together  after  he  drank. 

the  mountain  itself ;  but  was  in  a  quiet  state  on  the  waters 
over  the  mountains  of  Ararat.  This  obviates  some  difficulties  ; 
still,  the  natural  import  of  the  sacred  text  seems  to  be  that  the 
ark  rested  upon  the  top  of  a  mountain.  The  Hebrew 
proposition  (^37,  al)  translated  upon  (Gen.  viii.  4),  sometimes 
means  over  ;  but  its  native  and  usual  signification  is  upon.  Dur- 
ing the  deluge,  the  masses  of  ice,  which  generally  render  Mount 
Ararat  almost  inaccessible,  were  doubtless  melted  away,  and 
the  objection,  that  the  animals  leaving  the  ark,  could  not  have 
passed  down  the  sides  of  the  mountain  in  safety,  is  obviated, 
at  least,  to  a  great  extent.  The  earliest  tradition  indicates  a 
peak  of  the  chain  which  separates  Armenia  on  the  south  from 
Mesopotamia,  as  the  one  on  which  the  ark  rested.  As  that 
chain  incloses  Kurdistan,  it  took  the  name  of  the  Kardu  or 
Carduchian  range,  corrupted  into  Gordiaean.  Josephus 
informs  us  (Antiq.  i.  iii.  6)  that  Berosus  advocated  the  same 
view.  He  calls  the  mountain  range  that  of  the  Cordyaeans,  and 
remarks  that  some  parts  of  the  ark  were  said  to  have  been 
found  there.  Reference  is  made  to  the  same  tradition  by 
Abydenus  (Euseb.  Praep.  Evang.  ix.  4).  The  Chaldee  para- 
phrasts  as  well  as  the  Syriac  translators  and  churches,  adopted 
it.  A  monastery  in  honor  of  the  ark  was  built  upon  the  spot 
indicated  by  that  tradition  and  destroyed  by  lightning  A.  D. 
776.  The  Koran  calls  the  mountain  on  which  the  ark  rested 
Al-Judi,  a  corruption  of  Giordi  or  Gordiaean.  The  name  was 
first  given  to  the  whole  range  and  afterwards  to  a  peak  a  little 
to  the  east  of  Jezirah  ibu  Omar  (the  ancient  Eezabde)  on  the 
river  Tigris.  After  the  destruction  of  the  monastery  on  Mount 
Judi,  the  Mohammedans  still  maintained  that  the  ark  rested 
on  that  mountain  ;  but  the  Christians  of  the  West  gradually 
embraced  the  idea  that  a  mountain  in  the  north  of  iVrmenia 
was  the  one  on  which  it  rested,  and  finally  it  took  the  name  of 
Ararat ,  though  the  Armenians  called  it  Macis,  and  the  Turks 
Aghur-dagh,  meaning  the  heavy  or  great  mountain.  The 
mountain  is  mentioned  by  the  early  Persian  writers,  who 
call  it  Kihi  Nuch,  Noah's  Mountain.  It  is  mentioned  by 
Josephus  and  Ptolemy  under  a  name  of  similar  import.  It  is 
impossible  to  determine  beyond  a  doubt  which  mountain  was 


SETTLE^fENT  OF  THE  SONS  OF  NOAH. 


21 


(Gen.  ix.  21 — 23).  Subsequently,  Koah's  descendants 
became  so  numerous  that  it  was  necessary  to  extend 
their  limits,  and  they  began  to  explore  other  regions. 

In  Gen.  xi.  2,  we  are  informed  that  the  posterity  of 
JToah  journeyed  to  the  east,  or  from  the  east.  The 
original  will  bear  either  rendering.*  We  are  to  under- 
stand tliat,  before  this  time,  they  had  doubtless  wandered 
in  differeat  directions,  but  how  far  from  Ararat  we  do 
not  know.  It  seems  that  the  great  body  of  them  were 
not  separated  far  from  each  other,  else  how  could  such 
wandering  hordes  have  been  collected  together  on  the 
plains  of  Shinar  to  build  the  tower  of  Babel  ?f  They 
must  have  proceeded  some  distance  from  Ararat,  for 
that  is  m  a  northerly  direction  from  Babylon.  If  they 
had  remained  in  the  vicinity  of  that  mountain  it  would 
have  been  said  of  them  that  they  traveled  south  in  going 
to  Shinar,  and  not  east,  nov  from  the  east.  It  is  probable 
that  they  had  traveled  a  considerable  distance  from 
Ararat,  either  south-east  or  south-west,  and  when  they 
moved  towards  Sliinar,  they  went  either  east  or  west — it 
is  impossible  to  tell  which,  nor  is  it  of  much  importance 
to  decide  that  point.  Still  it  should  be  considered  that 
the  preposition  )2  {jnem)  more  usually  means  from,  and 
it  is  more  natural  to  regard  it  here  as  having  that  signi- 

indicated.  But  it  is  pretty  evident  that  the  spot  was  in  some 
part  of  Armenia  as  we  have  shown,  and  as  the  mountain  in  the 
north  of  that  country  is  much  more  elevated  than  any  other 
peak  it  seems  to  accord  more  nearly  with  the  scripture  account 
to  suppose  that  its  summit,  as  is  now  generally  believed,  was 
the  spot  where  the  ark  rested. 

The  Hebrew  word  is  Cnj^TS- 

t  It  is  not  probable  that  all  of  Shem's  posterity  returned  to 
Shinar,  though  doubtless  most  of  them  did. 


22 


INTRODUCTIOTT. 


fication,  than  as  signifying  to.  If  it  means  from  in  tliis 
place,  it  is  very  probable  that  the  posterity  of  Noah  had 
wandered  to  the  south-east  of  Ararat,  before  they  set  out 
for  Babylon. 

The  erection  of  Babel  was  next  commenced,  whose 
object  seems  to  have  been  to  prevent  being  separated 
from  each  other.  They  wished  to  have  some  great  cen- 
tral point  around  which  they  could  permanently  dwell 
(Gen.xi.  4) ;  but  their  vain  desire  was  not  gratified.  The 
lightnings  of  heaven  demolished  their  lofty  towe?',  their 
language  was  confounded  and  they  were  scattered  abroad 
upon  the  face  of  all  the  earth  (Gen.  xi.  8).  It  is  pro- 
bable that  from  the  commencement  of  the  journeyings 
from  Ararat  they  did  not  intend  to  be  separated.  They 
extended  their  limits  when  they  found  it  necessary,  still 
the  largest  portion  of  them  probably  continued  together, 
and  finally,  before  they  had  wandered  a  great  distance 
from  the  place  where  the  ark  rested,  they  formed  the 
plan  of  building  a  city  of  sufficient  magnitude  and 
splendor  to  furnish  them  a  permanent  residence,  and 
central  point  of  attraction. 

Ths  description  of  the  deluge,  and  of  the  first  settle- 
ment of  mankind,  was  written  by  Moses  more  than  1450 
years  B.  C,  and  the  lawgiver  must  have  either  compiled 
the  history  of  that  and  other  events  from  records  and 
monuments  kept  in  the  family  of  JSToah ;  or  from  tradi- 
tion, which  must  have  been  very  correct  in  those  early 
times,  in  reference  to  important  events,  as  life  was  very 
long,  and  the  circumstances  of  those  occurrences  would 
have  to  be  handed  down  to  Moses  by  few  persons,  and 
those  relatives  to  each  other ;  or  finally,  he  must  have 
received  the  facts  which  he  presents,  wholly  from  the 


SETTLEMENT  OF  THE  SONS  OF  NOAH. 


23 


immediate  inspiration  of  God.  In  either  case,  it  is  very 
certain  that  he  presented  a  true  account,  and  the  customs 
of  his  ancestors,  to  which  he  refers,  are  undoubtedly 
delineated  with  accuracy. 

After  the  confusion  of  tongues  the  posterity  of  IS^oah 
dispersed  in  difterent  directions,  and  in  the  tenth  chapter 
of  Genesis,  we  have  an  account  of  the  lands  which  they 
occupied. 

Japhetli  and  his  posterity  were  to  inhabit  the  Isles  of 
the  Gentiles  (Gen.  x.  5).  The  Hebrew  of  this  expression 
is  iD'ii^n        'iyy^y  haggSyim^  and  must  refer,  it  would 

seem,  to  places  where  Gentiles  or  Heathen  resided.  But 
it  may  with  propriety  be  asked,  what  islands,  so  soon 
after  the  deluge,  had  such  inhabitants?  Between  the 
time  of  the  occurrence  of  that  event  and  that  of  the  con- 
fusion of  tongues,  according  to  the  usual  computation, 
only  113,  though  according  to  Dr.  Hales,  600  years  inter- 
vened. During  six  centuries,  and  even  during  one^  the 
descendants  of  ^^^oah  must  have  multiplied  to  a  consider- 
able extent,  and  may  have  extended  their  migrations  to 
some  of  the  islands  of  the  Great  Sea ;  but  Moses  is  speak- 
ing (Gen.  x)  of  these  very  descendants  of  Noah  (i.  e., 
Japheth's  posterity)  as  going  to  occupy  the  Isles  of  the 
Heathen.  This  seems  entirely  to  exclude  the  idea  that 
Japheth's  posterity  may  have  already  settled  there  and 
become  Heathen  or  Gentiles.  Farther,  the  terms  Hea- 
then and  Gentiles  are  of  later  origin  tlian  that  early 
period,  and  we  think  that  the  translators  of  the  Scriptures 
might  have  employed  less  ambiguous  terms.  There  may 
have  been,  in  those  early  times,  and  probably  were^  per- 
sons who  rejected  the  religion  of  Xoah,  their  progenitor, 
and  may  have  been  called,  in  one  sense,  Heathen  j  but 


24 


INTRODUCTION. 


tliej  could  not  properly  have  been  designated,  as  in  our 
English  Bible,  by  tlie  term  Gentiles^  for  there  were  then 
neither  Jews  nor  Gentiles.  Xor  can  we  believe  that  the 
sacred  historian  intended  to  indicate  the  Antediluvians 
by  the  term  translated  Gentiles — that  Japhetli's  descend- 
ants were  to  inhabit  the  Isles  occupied,  before  the  deluge, 
by  the  Heathen.  There  were  then,  with  a  few  individual 
exceptions,  none  but  haters  of  God,  wdio  might  properly 
enough  be  called  heathen.  There  w^ere,  indeed.  Isles  of 
the  Heathen  at  the  time  when  Moses  wrote  this  account ; 
but  is  it  not  as  reasonable  to  suppose  that  he  intended  to 
designate  them  as  the  residence  of  Japhetli's  posterity,  as 
to  suppose  that  his  object  was  to  give  the  appellation 
which  those  places,  intended  as  the  residence  of  Japhetli's 
posterity,  bore  at  the  time  that  the  division  of  the  earth 
among  the  sons  of  Noah,  was  made  ? 

Tlie  term  translated  Isles  is  often  used  in  a  general 
sense  to  denote  islands,  coasts,  or  maritime  regions,  espe- 
cially of  the  Mediterranean,  as  in  Fs.  Ixxii.  10.  The  He- 
brew word  translated  Gentiles  is  the  general  term  denot- 
ing nations^  and  especially  such  as  did  not  belong  to  the 
jurisdiction  of  the  Jews.  May  it  not  also  denote  not  only 
Gentile  nations^  but  i^laces — any  thing  not  Jewish  ?  At 
the  early  period  when  the  division  of  lands  was  made — 
when  there  were  no  such  distinctions  as  Jews  and  Gen- 
tiles, the  term,  judging  from  its  present  signification,  may 
have  referred  to  places  not  in  the  possession  of  N'oah's 
posterity — foreign  regions,  and  both  terms  together  may 
have  been  used  as  a  general  expression  to  indicate  that 
Japheth  w^as  to  occupy  a  region  of  sea-coast  and  islands 
which  he  did  not  then  possess.  Whether  JS'oali  and  his 
posterity  were  near  Mount  Ararat,  or  in  the  vicinity  of 


SETTLEMENT  OF  THE  SONS  OF  NOAH.  25 

Babylon,  or  in  some  other  place,  it  is  certain  that  the 
nearest  maritime  region,  where  there  were  many  islands, 
was  the  Mediterranean,  and  it  is  natural  to  suppose  the 
numerous  islands  of  that  sea  to  have  been  the  region  to 
which  reference  is  made.  Strong  confirmatory  evidence 
of  the  correctness  of  this  supposition,  is  furnished  by  the 
name  of  one  of  Japheth's  posterity.  It  is  Kittim^  his 
grandson,  after  whom  the  place  where  he  subsequently 
resided,  was  undoubtedly  called.  When  the  division  of 
lands  was  made,  perhaps  different  localities  took  the 
names  of  the  individuals  who  were  to  occupy  them.  It 
has  been  a  general  custom  in  all  ages  to  name  places  after 
distinguished  individuals.  Kosenmiiller  asserts  that  most 
of  the  proper  names  in  the  tenth  chapter  of  Genesis,  are 
names  of  places  as  well  as  of  persons  (Alterth.  ii.  p.  94 ; 
cf.  Joseph.  Ant.  i.  vi.  1).  The  Hebrew  term  for  Kittim 
or  Chittim  is  tD^vl3  or  hitUm  or  hittiyyim.  It 

sometimes  occurs  in  connection  with  n^i^j^  ^yy^y-)  trans- 
lated isles  of  Chittim^  (Jer.  ii.  10;  Eze.  xxvii.  6),  some- 
times in  connection  with  y**]^^  erds^  earthy  and  is  trans- 
lated land  of  Chittim^  (Isa.  xxiii.  1,)  and  sometimes  sim- 
ply the  term  t]'^Jl3  'kittim  is  used  and  merely  anglicized 
in  our  translation  (Isa.  xxiii.  12).  Josephus,  (Ant.  i.  vi. 
1),  Gesenius,  (Heb.  Lex.  under  d'liTiS),  and  others,  sup- 
pose the  term  to  refer  to  the  Island  of  Cyprus.  The  He- 
brew word  being  in  the  plural,  should  be  translated 
Cypriaris  or  Citienses.  As  reference  is  made  to  more 
than  one  island,  it  would  be  natural  to  suppose  that  the 
islands  in  the  vicinity  were  intended,  i.e.,  the  islands  and 
coasts  of  Greece  and  of  the  ^gean  sea.  Indeed  the  term 
Kittim,  in  its  wider  sense,  comprehended  the  islands  and 
2 


26 


IXTRODIJCnON. 


coasts  of  tlie  Mediterranean  sea,  especially  tlie  nortliern 
parts,  and  perhaps  indicated  the  same  region  as  Isles  of 
the  Gentiles,  which  we  have  considered  above  (vid. 
Gesen.  Heb.  Lex.  under  Mttiiii).     According  to 

this  view,  then,  Japhetli  and  his  posterity  inhabited 
the  islands  and  coasts  of  Greece  and  of  the  .^gean  sea. 
At  length  they  extended  their  dominion  to  other  nor- 
thern and  western  parts  of  the  Mediterranean, 

Tarshish  was  another  grandson  of  Japheth  (Gen. 
X.  3,  4).  Ancient  Tarshish  was  doubtless  named 
after  him,  and  inhabited  by  his  posterity  (vid.  Eosenm. 
Alterth.  ii.  p.  94).  Winer,  Gesenius  and  others  sup- 
pose that  Tarshish  was  the  ancient  Tartessus  in  the 
west  of  Spain.  There  was  a  large  district,  including 
modern  Cadiz  and  other  cities,  called  by  that 
name. 

It  is  probable  that  the  nearest  islands  were  first  in- 
habited. Cyprus,  being  in  the  eastern  part  of  the  ]Med- 
iterranean,  would  be  likely  to  be  first  occupied,  or  at 
least  soon  after  the  confusion  of  languages,  as  it  is  not  a 
great  distance  from  the  land  of  Sliinar.  It  is  about  76 
miles  west  of  Latagieh  in  Syria  and  44  miles  south  of 
Cape  Anamoor  in  Anatolia,  Asia  Minor.  In  ancient 
times,  its  distance  from  the  main  land  was  probably 
much  less.  Some  think  that  it  was  once  united  to  the 
continent.  It  is  probable  that  means  were  found  very 
early  to  pass  to  that  island  and  make  a  settlement.  The 
posterity  of  Japheth  gradually  formed  colonies  along  the 
Mediterranean,  until  they  reached  the  western  extremity, 
and  then  moved  towards  the  north  of  Europe.  It  is 
difficult  now  to  ascertain  how  long  a  time  elapsed  before 
they  reached  the  Great  Sea,  and  the  exact  period  when 


SETTLEMENT  OF  THE  SONS  OF  NOAH. 


they  settled  in  varioiis  parts  of  Europe.  Their  original 
knowledge  of  music  and  the  arts  and  sciences  in  general, 
must  have  been  considerable,  and  they  doubtless  gradu- 
ally made  advancement  in  that  direction. 

The  Greeks  and  Romans  were  the  most  distinguished 
ancient  descendants  of  Japheth.  Greece  was  settled  in 
very  early  times  (For  a  farther  description  of  Greece, 
vid.  p.  46,  infra).  It  is  possible  indeed  that  some  of  the 
descendants  of  Japheth  proceeded  into  that  country  im- 
mediately after  the  dispersion,  and  there  first  commenced 
a  settlement,  or  it  may  be  that  they  first  visited  some  of 
the  islands  bordering  upon  the  country  on  the  east,  in 
the  ^gean  sea,  and  afterwards  proceeded  to  the  main 
land.  Josephus  informs  us  that  some  of  the  posterity  of 
j^oah  passed  over  the  sea  in  ships  and  inhabited  the 
islands  (Josephus,  i.  v.  1). 

We  learn  from  Gen.  x.  6 — 20,  that  Ham's  posterity 
founded  and  inhabited  (for  a  short  time  at  least)  Babylo- 
nia and  a  part  or  all  of  what  is  now  called  Palestine,  and 
other  places  more  distant.  Kimrod,  the  son  of  Gush, 
founded  the  Babylonian  monarchy  and  its  celebrated 
cities.  It  is  difficult  to  define  the  precise  limits  of  Baby- 
lon its  splendid  capital.  It  is  supposed  to  have  stood 
upon  the  Euphrates,  a  little  above  the  union  of  that  river 
with  the  Tigris.  Its  site  was  probably  where  the  town 
of  Hillah  now  stands,  about  sixty  miles  south  of  Bagdad. 

According  to  Gen.  x.  11,  Nimrod  went  out  into  Assy- 
ria, or  Ashur  went  out,  and  built  Nineveh  and  other 
cities.  The  Hebrew  will  bear  either  rendering.  The 
former  is  in  accordance  with  the  opinion  of  Gesenius,  T. 
H.  Home,  and  others.  Nineveh  was  the  capital  of  As- 
syria, and  probably  stood  upon  the  eastern  bank  of  the 


28 


INTEODUCTION. 


Tigris,  opposite  the  present  Mosul.*  From  Gen.  x.  19,  we 
perceive  that  the  Canaanites  occupied  the  region  extending 
from  "  Sidon  unto  Gaza  even  unto  Lashah."  Sidon,  now 
called  Said  a  or  Saide,  is  upon  the  coast  of  the  Mediter- 
ranean, in  the  northern  extremity  of  Palestine.  Gaza  is 
near  the  southern  part  of  the  same  country.  Lashah,  ac- 
cording to  Jerome  (in  Quaest.),  was  upon  the  north-eastern 
shore  of  the  Dead  Sea,  where  Callirhoe  stands.  Others  sup- 
pose, with  less  reason  w^e  think,  that  Lashah  is  identical 
with  Dan  Laish,  or  Leshem,  now  called  Tell-el-kady  near 
Csesarea  Pliilippi  towards  the  northern  part  of  Palestine. 
Following  the  former  view,  which  is  adopted  by  Gesen- 
ius,  these  places  bounded  Palestine  nearly  on  three 
sides.f 

Mizraim  was  the  grandson  of  Noah,  and  his  posterity 
are  supposed  to  have  directed  their  course  towards  Egypt. 
That  country  was,  no  doubt,  named  after  him,  as  the 
same  Hebrew  word  is  used  for  both.  From  the  land  of 
Shinar  to  the  nearest  part  of  Egypt  was  several  hundred 
miles. 

Two  other  countries  were  probably  named  after  Gush, 
another  grandson  of  Noah.  Professor  Stuart  has  proved 
conclusively,  in  the  notes  to  his  Hebrew  Chrestomathy, 
that  there  was,  anciently,  a  Gush  Oriental  as  well  as  a 

*  Cf.  Plin.  H.  N.  5,  6. 

t  The  inhabitants  of  Babylonia  and  Assyria,  in  the  most  an- 
cient times,  seem  from  their  languages,  to  have  been  of  Shem- 
itish  origin,  and  though  Babylon  and  Nineveh  were  founded  by 
a  descendant  of  Ham  before  the  dispersion,  probably  Babylonia 
and  Assyria  after  that  event,  were  mostly  inhabited  by  Shem's 
posterity. 


SETTLEMENT  OF  THE  SONS  OF  NOAH. 


29 


Casli  Soiitliern.  Cusli  Oriental  extended  east  of  tlie 
Tigris,  and  comprehended  the  country  between  the  Cas- 
pian Sea  and  Persian  Gulf.  It  is  probable  that  the  des- 
cendants of  Cush  first  inhabited  this  country,  and  gradu- 
ally extended  their  borders  through  Arabia  to  the  Red 
Sea,  then  crossing  over  to  Africa,  occupied  its  eastern 
coast,  and  finally  penetrated  into  the  interior  of  Ethiopia. 
Tlie  term  Cush  seems  to  be  equivalent  to  Southern 
Country.  It  must  have  been  several  years  before  the 
posterity  of  Ham  wandered  into  the  more  central  parts 
of  Africa,  as  the  distance  from  the  land  of  Shinar  is  very 
great. 

The  posterity  of  Shem  were  to  inhabit  the  region 
"  from  Mesha  to  Sephar  (Gen.  x.  30),  a  mount  of  the 
east."  For  the  last  clause,  Gesenius  translates  :  ("  and 
beyond  even  imto)  the  mountains  of  ArahiaP  He  sup- 
poses Mesha  to  have  been  w^hat  was  subsequently  called 
Mousa  or  Monza,  a  city  and  harbor  on  the  western  coast 
of  Arabia,  not  far  from  Mocha,  where  Maushid  now 
stands.  Thus  Mesha  would  constitute  the  western  bor- 
der of  Joktan's  place  of  residence.  J.  Pye  Smith  remarks 
that  Mesha  is  what  is  now  called  Maishon,  or  Mesene,  at 
the  northwest  head  of  the  Persian  Gulf.  Gesenius  sup- 
poses Sephar  to  have  been  the  chief  city  of  the  region 
called  Shehr  in  Arabia,  between  the  Provinces  of  Hadra- 
maut  and  Oman.  Smith  thinks  that  it  was  upon  the 
southwest  coast  of  Arabia,  on  what  is  now  called  Mount 
Sabber.  The  mountains  to  which  reference  is  made,  be- 
yond Sephar  must  have  been  the  chain  running  across 
the  middle  of  Arabia  from  the  vicinity  of  Mecca  and  Me- 
dina to  the  Persian  Gulf.  According  to  this  view,  Jok- 
tan's posterity  resided  in  the  southern  part  of  Arabia, 


so 


INTEODrCTlON. 


the  nearest  point  of  wliicli  was  not  very  far  sontli  of  the 
land  of  Shinar. 

The  descendants  of  Aram  doubtless  resided  in  tlie  re- 
gion whicli  received  the  name  of  their  progenitor.  It  is 
impossible  to  determine  with  certainty,  the  exact  extent 
of  that  region  ;  but  it  probably  comprehended  Syria,  and 
in  its  widest  sense  extended  from  Mount  Taurus  south  as 
far  as  Damascus,  and  from  the  Mediterranean  east  beyond 
the  Tigris  into  Assyria. 

It  is  generally  believed  that  the  posterity  of  Shem  oc- 
cupied Western  Asia.  The  Persians,  Assyrians,  Ara- 
mseans  (at  least  in  the  restricted  signification  of  the  term), 
Hebrews  and  apart  of  the  Arabians,  are  believed  to  have 
descended  from  him. 

From  this  general  view  of  the  three  sons  of  l^oah,  it 
seems  that  Japheth,  after  the  confusion  of  tongues,  pro- 
ceeded towards  the  west,  and  settled  the  coasts  of  Asia 
Minor  and  Europe,  and  finally  moved  on  to  the  extreme 
north  and  west ;  Ham  went  south,  and  finally  reached 
the  central  regions  of  Africa  ;  Shem  turned  his  face  east- 
ward, and  eventually  his  posterity  reached  India  and  tlie 
other  eastern  and  northern  countries  of  Asia. 

It  may  be  interesting  now  to  inquire  what  countries 
were  first  settled,  and  whether  any  attention  was  bestowed 
by  their  inhabitants  upon  music. 

Babylon  was  evidently  the  first  city  which  was  built 
after  the  confusion  of  tongues,  having  been  commenced 
simultaneously  with  the  tower  of  Babel.  Politz  supposes 
that  Nimrod  was  the  leader  of  an  Arabian  horde,  that  he 
rushed  into  Babylonia  and  conquered  the  country,  and 
that  after  his  time,  it  was  called  Shmar,  The  Hebrew 
term'n3?5';p  (Shmar)  is  sometimes  rendered  Shinai'  and 


BABYLONIA. 


81: 


sometimes  Babylonia.  The  origin  of  tlie  word  is  un- 
known ;  but  it  is  evident  that  Babylonia  and  Sliinar  re- 
fer to  the  same  region  of  country  surrounding  Babylon.* 

The  displeasure  of  the  Almightj^,  at  the  time  of  the 
confusion  of  languages,  caused  the  building  of  Babylon 
to  cease  ;  but  it  was  subsequently  commenced  again, 
though  the  exact  time  when  and  the  person  hy  whom, 
cannot  with  certainty  be  determined.  We  know  that  the 
Babylonian  language  was  of  Shemitish  origin,  though  we 
are  by  no  means  to  suppose  that  those  who  spoke 
languages  thus  derived,  were  all  descended  from  Shem. 
Still  this  is  evidence  that  most  of  the  inhabitants  were 
thus  descended,  especially  as  there  is  no  proof  that  the 
ancient  language  of  Babylonia  was,  from  the  remotest 
antiquity,  changed  in  its  essential  features.  The  Hebrew 
is  supposed  by  some  to  be  the  original  of  all  the  Shemit- 
ish stock,  and  is  thought  to  bear  strong  marks  of  being 
the  most  ancient  of  all  tongues,  and  to  have  been  the 
general  language  spoken  before  the  dispersion.  Later 
critics,  liowever,  maintain  with  much  reason,  we  think, 
that  all  of  the  Shemitish  dialects  are  derived  from  the 
primitive  tongue,  and  that  fragments  of  the  latter  are 
found  in  each  of  those  dialects.f 

Moses  informs  us  that  "  the  whole  earth  Was  of  one 
language.-'  It  is  possible  that  Shem  and  his  descendants 
continued  to  speak  the  original  language  used  before  the 

*P6litz  Welt  Geschichte  i.  19;  cf.  Gen.  x.  10;  xi.  2; 
xiv.  1 ;  Isa.  xi.  11  ;  Dan  i.  2. ;  Zech.  v.  11. 

t  The  Jewish  Rabbis,  Jonathan,  author  of  the  Chalclee  Para- 
phrase, Solomon  Jarchi  and  Aben  Ezra,  also  Origen,  Augustine 
and  others,  believe  the  Hebrew  to  have  been  the  language 
spoken  in  Paradise, 


32 


INTRODTJCTION-. 


dispersion,  as  tliej  occupied  lands  in  the  immediate  vi- 
cinity of  Sliinar,  and  even  that  country  was  probably,  to 
a  great  extent,  inhabited  by  them.  Though  at  the  de- 
struction of  Babel,  there  was  a  confusion  of  tongues,  it  is 
highly  probable  that  it  was  of  short  duration,  and  that  we 
must  look  to  something  else  as  the  principal  cause  of  the 
diversity  of  languages  in  various  parts  of  the  world.  The 
Chinese,  for  instance,  are  probably  the  descendants  of 
Shem  ;  but  their  language  and  the  Shemitish  are  radical- 
ly different,  and  it  would  seem,  could  not  have  had  the 
same  origin.  The  most  probable  supposition  is,  that,  as 
the  people  extended  their  borders  and  were  more  distant 
from  the  land  of  Shinar,  various  circumstances,  such  as 
climate,  government,,  subjection  to  other  nations,  con- 
quest and  the  physical  power  of  enunciation,  gradually 
changed  their  language  so  that  it  became,  in  some  cases, 
entirely  different  from  its  original  (vid.  p.  48  infra). 
This,  to  us,  is  the  most  probable  supposition,  though  it 
must  be  acknowledged  that  great  obscurity  rests  upon 
the  whole  subject  of  the  origin  of  languages.* 

Dr.  Jahn  maintains  that  Nimrod's  Babylon  should  not 
be  regarded  as  the  germ  of  that  universal  monarchy 
which  took  its  rise  in  a  later  age  and  among  a  different 
people  (Jahri's  Heb.  Commonwealth,  Yol.  I.  p.  6).  The 
tower  of  Belus  mentioned  by  Herodotus  is  probably  the 
tower  of  Babel  repaired  by  Belus  11,  king  of  Babylon, 
who  is  frequently,  by  the  ancient  historians,  confounded 
with  Belus  I,  or  ]^imrod.  In  Gen.  xiv.  1,  Amraphel, 
king  of  Shinar  is  mentioned  who  must  have  ruled  the 

*  Cf.  Prof.  Stuart's  Notes  to  his  Hebrew  Chrestomathy,  also  Dr. 
Gr.  Sharpe's  Dissertations  on  the  origin  of  languages,  p.  22 — . 


BABYLONIA. 


same  or  nearly  the  same  region  of  coimtrj  as  did  Nim- 
rod,  for  in  both  cases  it  was  called  by  the  same  name. 
Amraphel  was  doubtless  king  of  Babylonia,*  in  the  time 
of  Abram  (Gen.  xiv.  1,  9,  12).  The  battle  to  which  ref- 
erence is  made  in  the  passage  to  which  we  have  just 
referred,  and  in  which  Amraphel  took  part,  seems  to 
have  occurred  between  the  seventy-fifth  and  eighty-sixth 
years  of  the  life  of  Abram  (Gen.  xii.  4;  xvi.  16). 
According  to  Usher,  Abram  was  born  B.  C.  1996. 
Reckoning  from  that  period,  we  shall  have  the  years 
1921  and  1910  B.  C.  between  which  the  above  named 
battle  occurred,  leaving  a  difference  of  eleven  years. 
From  Gen.  xvi.  3,  we  learn  that  Abram  had  already 
been  ten  years  in  Canaan  when  he  took  Hagar  for  his 
wife,  and,  supposing  it  to  be  one  year  after  that  time 
when  Ishmael  was  born,  we  have  eleven  years  for  the 
time  of  Abram's  sojourn  in  Canaan  at  the  birth  of  Ish- 
mael. True,  Abram  visited  Egypt,  but  subsequently  to 
his  first  arrival  in  Canaan,  and  he  could  not  have  tarried 
long,  as  he  had  offended  Pharaoh  and  was  obliged  hastily 
to  leave  (Gen.  xii.  20).  At  first  he  proceeded  immedi- 
ately from  Haran  into  Canaan  according  to  Gen.  xii.  5,  6. 
From  Gen.  xvi.  3,  we  are  to  imderstand  that  it  had  been 
ten  years  since  he  first  came  into  Canaan.  The  battle 
abovementioned  must  have  occurred  between  the  years 
428  and  439  after  the  deluge.  "We  cannot  decide  the 
exact  year,  though  it  was  probably  not  long  after  the  year 
428.  Amraphel  is  called  a  King  (Gen.  xiv.  1).  "Whether 
his  was  the  first  kingdom  formed  after  the  dispersion,  we 

*  Vid.  Gesen.  Heb.  Lex.  under  5s*^^jj^  Amraphel,  where 
the  same  opinion  is  expressed.  v  t  :  - 

3 


34 


INTEODirCnON. 


are  not  able  to  decide  with  certainty.  During  more  than 
400  years  there  was  certainly  time  for  the  formation  and 
overthrow  of  several  kingdoms  upon  the  same  spot.  In 
those  early  times  monarchies  were  of  short  duration.  It 
is  possible  that  Ximrod  was  still  living  in  the  time  of 
Amraphel,  as  the  cotemporaries  of  the  former,  Salah, 
Eber,  Peleg  and  others  lived  to  the  age  of  about  400 
years,  and  the  above  named  battle  must  have  occurred, 
according  to  the  usual  computation,  313  years  after  the 
dispersion.  However  that  may  have  been,  the  country 
was  not  then  imder  the  rule  of  Nimrod.  Much  the  most 
probable  supposition  is  that  the  Hunter'^ s  monarchy  was 
of  short  duration — that  soon  after  the  dispersion,  a  leader 
of  some  horde  formed  another  monarchy.  Perhaps  sev- 
eral were  thus  formed  and  overthrown,  and  perhaps  each 
had  raised  to  the  supreme  command  and  dethroned  more 
than  one  sovereign.  Porphyry  declares  that  Calisthenes 
brought  an  acquaintance  with  astronomical  observations 
from  Babylon  to  Greece  more  than  nineteen  hundred 
years  before  the  time  of  Alexander  the  Great,  pointing 
us  back  to  a  period  only  a  few  years  after  the  dispersion 
of  mankind.  Little  reliance,  however,  is  to  be  placed 
upon  this  testimony  as  there  is  nothing  extant  in  the 
Chaldaean  astrology  more  ancient  than  the  era  of  Kabon- 
assar,  which  begins  according  to  the  usual  computation, 
747  B.  0.  From  the  occurrence  of  the  abovenamed  con- 
test until  the  time  when  the  later  Babylonian  empire 
flourished  under  [N'abonassar,  Nebuchadnezzar  and  other 
sovereigns,  embracing  a  period  of  more  than  twelve  cen- 
turies, we  find  very  few  historical  facts  in  reference  to 
Babylonia,  upon  which  we  can  rely.    In  Micah  v.  6,  the 


ASSYRIA. 


35 


land  of  Nimrod  is  mentioned ;  but  the  reference  is 
merely  to  the  later  empire. 

Assyria  was  an  ancient  country,  having  doubtless 
received  its  name  from  Ashshur  a  son  of  Sliem  (Gen.  x. 
22 ;  1  Chron.  i.  17).  The  Hebrew  term  is  1^t3i< 
shur.  The  feminine  form  of  the  word  refers  to  the  coun- 
try of  Assyria  and  the  masculine  form  to  the  empire. 
Nineveh,  its  capital  was  built,  according  to  the  usual 
computation,  at  about  the  time  of  the  dispersion.  We 
know  not  with  certainty  its  fate,  when  Kimrod's  Baby- 
lonian monarchy  was  destroyed  ;  but  it  is  probable  that 
its  power  as  well  as  that  of  cities  adjacent  to  it,  was  over- 
thrown. Whether  Assyria  was  at  first,  a  separate  mon- 
archy or  united  with  Babylonia  and  under  the  authority 
of  Nimrod  for  a  length  of  time,  cannot  now  be  deter 
mined  with  certainty.  However  that  may  have  been, 
we  find  nothing  authoritative  in  history  concerning 
Assyria,  until  a  considerable  time  after  the  dispersion. 
In  Gen,  x.  11,  we  read  in  our  translation,  "  out  of  that 
land  went  forth  Asshur  andhuilded  Nineveh^''  HID^'O " 

-ntriii:  i^mn  f-lii:n"'))2.  in  the  margin  of  the 
polyglot  bible  we  read  "  out  of  that  land,  he  (i.  e.  Nirrb- 
Tod),  went  out  into  Assyria  and  luilded  Nineveh.  The 
most  natural  rendering  of  the  passage  is  as  it  appears  in 
the  text  of  our  bible.  Still  there  are  serious  and  perhaps 
fatal  objections  to  that  translation  of  it.  Moses  is  speak- 
ing of  the  posterity  of  Ham,  and  does  not  mention  that 
of  Shem  till  in  the  twenty-first  verse.  It  is  not  reason- 
able to  suppose  that  the  writer  would  thus  introduce 
Shem's  posterity  in  the  eleventh  verse  before  he  was  pre- 
pared fully  to  describe  them.  It  is  objected  that  if 
Moses  intended  to  say  that  Nimrod  went  to  Assyria,  a 


36 


INTRODUCTION. 


preposition  or  locale  would  have  been  used  ;  but  it  is 
often  the  case  that  verbs  signifying  to  go  to  a  place  are 
construed  with  the  noun  in  the  accusative  without  the 
preposition.  Also  n  locale  is  sometimes  omitted.* 
According  to  this  view,  which  certainly  seems  the  most 
probable  and  is  supported  by  the  Targums  of  Onkelos, 
Jerusalem,  and  of  Jerome,  also  by  Bochart,  Hyde, 
Marsham,  Wells,  Faber,  Hales  and  others,  E^imrod,  a 
powerful  monarch,  advanced  northward,  seized  Babylonia 
and  then  rushed  into  Assyria,  where  the  Ashshurites  had 
already  formed  a  colony,  conquered  them  and  built  Nin- 
eveh and  other  cities.  If  this  be  correct  Babylonia  and 
Assyria  were  both  under  the  authority  of  IS^imrod. 
What  is  properly  called  the  Assyrian  empire,  was  of 
later  origin,  and,  according  to  Gesenius  (cf.  Isa.  x.  5,  9, 
10  ;  vii.  20,)  comprehended  Babylonia,  and  Mesopotamia. 
Assyria  is  mentioned  in  Gen.  xxv.  18,  in  connection  with 
the  death  of  Ishmael.  His  death  occurred  at  the  age  of  137 
years,  and  Abram  was  86  years  of  age  when  Ishmael  was 
born  (Gen.  xvi.  16),  and  the  latter  was  born  according  to  our 
tables  of  chronology,  324  years  after  the  dispersion  of  man- 
kind. The  death  of  Ishmael  occurred  137  years  afterwards, 
which,  added  to  the  preceding  324,  make  461  years  after 
the  dispersion  or  1773  B.  C.  when  Assyria  was  mentioned 
by  Moses  as  existing.  This  would  be  about  148  years 
after  the  battle  occurred  in  which  Amraphel  was  engaged 
(Gen.  xiv.  1).  The  Assyrian  monarchy,  considering  JSTin- 
eveh  as  its  capital,  was  first  established  not  far  from  Baby- 
lon, though  not  in  the  land  of  Shinar  (Gen.  x.  10,  11). 


^  Cf.IISam.x.2,withIChron.xiii.  13;  xix.2;  (vid.  Noldius' 
Concordance  of  Hebrew  Particles,  quoted  by  N.  Morren,  M.  A. 
in  his  article  on  Assyria  in  Kitto's  Cyclopaedia  of  Bib.  Lit.). 


ASSTKIA. 


At  different  times  its  limits  varied,  still  its  centre  of 
power  probably  contimied  to  remain  at  Xineveli.  Before 
the  148  years  above  mentioned  and  during  that  period, 
it  is  probable  that  different  monarchies  were  formed  in 
the  land  of  Shinar  and  vicinity.  Undoubtedly  at  differ- 
ent periods  various  adjacent  regions  were  included 
under  the  name  of  Shinar  or  Babylonia.  At  the  com- 
mencement of  the  148  years  Amraphel  was  monarch  of 
the  country,  and  dming  those  years  perhaps  his  kingdom 
continued  to  exist  for  a  considerable  length  of  time. 
"Wliether  it  was  called  the  Assyrian,  Babylonian,  Baby- 
lon i- Assyrian  monarchy  or  the  kingdom  of  Shinar  makes 
but  little  difference.  That  region  of  country  was  undoubt- 
edly called  by  different  names  during  the  same  period, 
and  doubtless  at  times  several  kingdoms  existed  in  the 
land  of  Shinar  and  vicinity  at  the  same  time.  Subse- 
quently to  the  148  years  alluded  to  above,  the  term  As- 
syria seems  to  have  been  used  to  designate  about  the 
same  region  of  country  as  was  before  indicated  by  Baby- 
lonia or  Shinar. 

Some  other  kings  are  mentioned  in  the  fourteenth  chap- 
ter of  Genesis  who  ruled  in  countries  adjacent  to  the  land 
of  Shinar.  One  is  Arioch  king  of  EUasar,  whose  name 
Gesenius  supposes  to  be  of  Assyro-Chaldaic  origin,  and 
thence  infers  that  the  land  of  Ellasar  which  he  governed, 
was  probably  some  province  of  Persia  or  Assyria  (vid. 
Gesen.  Heb.  Lex.  under  iC^Ji<  Ellasar).     That  monarch 

T  T 

seems  to  have  been  an  ally  of  Amraphel.  Josephus  con- 
siders these  four  kings  (mentioned  in  Gen.  xiv.  1)  as 
merely  commanders  in  the  Assyi'ian  army.  As  they 
were  cotemporaries  of  Amraphel,  it  will  not  be  necessary 
to  consider  their  history  fartlier. 


38 


ESTTEODFCTION. 


In  Gen.  ii.  14^  there  is  a  reference  to  Assyria  in  describ- 
ing the  location  of  the  Garden  of  Eden,  showing  that 
such  an  empire  existed  when  Moses  wrote  the  account. 
Bj  ascertaining  the  antiquity  of  the  writings  we  may 
learn  that  of  the  reference. 

The  Pentateuch  was  compiled  in  very  ancient  times. 
Daniel  mentions  it  during  his  captivity  in  Babylon  (Dan. 
ix.  11-13),  and,  from  the  first  verse  of  the  chapter,  we 
perceive,  that  he  uttered  the  prayer  therein  contained, 
during  the  first  year  of  the  reign  of  Darius,  "  of  the  seed 
of  the  Medes."  This  Darius  was  undoubtedly  Cyaxares 
II,  son  and  successor  of  Astyages  and  uncle  of  Cyrus. 
According  to  Gesenius,  Darius  governed  in  Media  be- 
tween the  reigns  of  Astyages  and  Cyrus,  569-536  B.  C. 
(vid.  Ges.  Heb.  Lex.  under  l^^^l^i),  for  Josephus  as- 
serts that  Darius  the  Mede  was  the  son  of  Astyages  and 
called,  among  the  Greeks,  by  another  name  (Joseph. 
Ant.  X.  xi.  4).  The  Pentateuch  was  existing  in  tlie  time 
of  Josiali  (11  Chron.  xxxiv.  15),  in  the  time  of  Hoshea, 
King  of  Israel  (11  Kings,  xvii.  27 ;  xviii.  1),  and  in  the 
time  of  Jehoshaphat,  King  of  Judah,  (11  Chron.  xvii.  1,  9). 
The  above  named  Kings  of  J  udah  and  Israel  lived  before 
the  captivity.  Farther,  the  whole  temple  service  and 
worship  were  regulated  by  Solomon  according  to  the  law 
contained  in  the  Pentateuch.  The  same  was  true  of  his 
father  David.  There  are  various  references  to  the  Penta- 
teuch in  the  Psalms  (Ps.  i.  2  ;  xix.  7 — 11 ;  xl.  7,  8  ;  cxix. 
etc.).  It  is  evident  that  it  was  written  even  before  the 
book  of  Joshua  from  numerous  references  to  its  pages 
there  found  (Josh.  i.  7,  8  ;  xxiii.  6  ;  xxiv.  26  ;  viii.  30-34), 
and  it  is  quite  certain  that  that  book  was  originally  com- 
posed by  Joshua  himself,  soon  after  the  death  of  Moses, 


ASSYEIA. 


39 


though  it  was  reduced  to  its  present  form  in  later  times 
(Josh.  xxiv.  25,  26  ;  xviii.  etc.).  Moses  died  at  the  age 
of  120  years  (Dent,  xxxiv.  T).  This  was  about  forty 
years  after  he  and  Aaron,  in  accordance  with  the  divine 
command,  called  upon  Pharaoh  and  urged  him  to  permit 
the  children  of  Israel  to  leave  Egypt.  The  same  year 
the  permission  was  given  and  they  departed.  Moses  then 
was  80  years  old  (Ex.  vii.  7),  forty  years,  the  difference 
between  120  and  80,  being  added  to  2513,  the  year  when 
the  Hebrews  left  Egypt,  we  have  A.  M.  2553  or  B.  C. 
1151,  the  year  when  Moses  died.  These  forty  years  be-  • 
ing  after  the  institution  of  the  Passover  should  be 
reckoned  as  solar  years.* 

About  that  time  then  there  was  a  country  called  As- 
syria. It  was  about  322  years  after  the  death  of  Ishmael, 
named  in  Gen.  xxv.  18,  in  connection  with  the  mention 
of  that  country.  There  is  not  that  difference  in  the  time 
when  these  passages  (Gen.  ii.  11.  and  xxv.  18)  were  writ- 
ten ;  but  the  fact  that  Assyria  is  mentioned  in  the  latter 
passage  in  connection  with  the  death  of  Ishmael,  shows 
that  the  country  existed  at  that  early  period.  The  Pen- 
tateuch was  written  a  long  time  after  most  of  the  events 
there  described  occurred.  So  it  was  with  the  two  passages 
named  above.  Moses,  the  author  of  the  Pentateuch,  was 
not  born  when  Ishmael  died  (Gen.  xxv.  18).  In  Gen.  ii. 
14,  we  have  no  historical  circumstances  to  assist  us, 
therefore  the  reference  to  Assyria  in  that  passage  simply 
furnishes  evidence  that  such  a  country  existed  when  the 
Pentateuch  was  written.  About  320  years  after  this 
period,  we  have  accounts  of  Assyria  from  profane  histo- 

*  Before  that  feast  was  instituted,  time  was  reckoned  by  lu- 
nar or  luni-solar  years,  which  are  not  as  long  as  solar  ones. 


rNTRODUCTION. 


rians,  whicli,  though  doubted  by  some,  are  tliouglit  to  be 
reliable.  Ninus  is  represented  as  the  reigning  sovereign 
at  the  time  when  Deborah  and  Barak  judged  Israel  about 
1535  B.  C.  Ninus  was  succeeded  by  his  Queen  Semi- 
ramis,  w^ho  reigned  42  years.  Fifty-two  years  after 
wards  her  son  Ninyas  ascended  the  throne.  Ctesias  sup- 
poses that  the  founder  of  the  Assyrian  monarchy  and  the 
builder  of  Nineveh  were  the  same  person,  viz :  Ninus, 
and  that  Nineveh  derived  its  name  from  him.  Accord- 
ing to  this  view,  Nimrod,  signifying  rebels  was  not  properly 
the  name  of  the  founder  of  the  Assyrian  capital,  but  a 
term  of  reproach  given  him  by  his  enemies.  Syncellus, 
and  following  him.  Hales,  think  that  Ninus  succeeded 
Esarhaddon  as  sovereign  of  Assyria  B.  C.  667,  and  had 
as  his  successor,  Nebuchodonosor  B.  C.  658.  Herodotus 
and  Ctesias  are  the  leading  profane  authorities  upon  this 
subject,  and  their  accounts  are  extremely  contradictory, 
60  that  little  reliance  can  be  placed  on  them,  and  we  are 
obliged  to  go  back  to  the  Scriptures  for  the  fragmentary 
history  of  Assyria.  It  must  be  acknowledged,  however, 
that  with  the  Scriptures  and  all  other  accessible  helps 
before  us,  there  is  great  obscurity  in  reference  to  this 
subject. 

The  Scriptures  are  silent  in  respect  to  the  history  of 
that  country  for  several  centuries,  until  the  time  of  the 
prophet  Jonah,  who  flourished  about  Y05  B.  C.  Then  it 
is  mentioned,  but  the  name  of  its  sovereign  does  not  ap- 
pear. About  fifty  years  later  Pul  is  named  as  King  of 
the  country  (II  Kings  xv.  19  ;  I  Chrou.  v.  26).  It  is 
thought  that  he  was  the  father  of  Sardanapalus,  the  last 
King.    The  kingdom  was  destroyed  about  627  B.  C.  and 


CHALDjEA, 


41 


from  its  ruins  were  formed  the  kingdoms  of  Nineveh, 
Babylon  and  Mediai 

Chaldcea,  in  the  earliest  times,  was  included  between 
the  Euphrates  and  Tigris.  It  is  mentioned  in  Gen.  xi. 
28,  31,  in  connection  with  Terah  and  Abram.  Terah,  the 
father  of  Abram  resided  in  Ur  of  the  Chaldees.  He  was 
born  about  223  years  after  the  deluge,  A.  M.  1878,  or 
B.  C.  2126,  and  108  years  after  the  dispersion  of  man- 
kind. Perhaps  Ur  had  existed  before  Terah  resided 
there.  It  is  difficult  to  ascertain  whether  there  was  ever 
a  Chaldsean  empire  distinct  from  the  Babylonian.  It  is 
thought  by  many  that  Chaldsea  in  the  earliest  times,  was 
another  name  for  Babylonia.  It  is  evident,  however,  that 
in  remote  antiquity  there  were  Astrologers  in  Babylon 
called  Chaldaeans.  It  should  be  remarked  that  the  terms 
Chaldaea  and  Chaldieans  (tJ^'Tiu^  kasdwi)^  seem  to  have 
been  derived  from  Kesedh^  a  nephew  of  Abram  (ibD 

kesedh^  vid.  Gen.  xxii.  22),  or  which  is  perhaps  more 
probable,  Kesedh  was  named  after  the  country,  as  the 
term  Chaldjeans  is  mentioned  at  an  earlier  period  in  con- 
nection with  Terah  the  father  of  Abram.  It  was  custom- 
ary in  those  early  times  to  name  countries  from  individu- 
als and  vice  versa  /  but  the  former  practice  seems  to  have 
been  more  common,  and  it  may  have  been  so  with  Kesedh. 
His  place  of  residence  may  have  been  designated  by 
another  name,  though  it  was  doubtless  within  the  limits 
of  Babylonia.  Before  he  settled  there  the  country  may 
even  have  received  no  special  designation  excepting  that 
it  was  a  part  of  Babylonia.  Kesedh  doubtless  was  ac- 
companied into  the  country  by  other  persons,  and  became 
the  leader  of  a  tribe.    It  is  very  natural  to  suppose  that 


42 


INTKODUCTION. 


the  district  wliicli  they  occupied  was  named  after  their  lead- 
er. Subsequently  the  term  Chaldgeans  specially  designated 
astrologers^  probably  from  the  fact  that  individuals  of  the 
original  tribe  were  addicted  to  necromantic  arts.  Balaam 
is  supposed  to  have  been  a  Chaldsean  priest  and  astrolo- 
ger, who  lived  during  the  closing  period  of  the  life  of 
Moses.  The  latter  died  about  A.  M.  2553,  or  B.  C.  1451 
(N"um.  xxii — xxvii.  13).  All  who  were  acquainted  with 
the  mysterious  science  of  astrology  were  called  Chal- 
dseans.  The  same  term  has  been  applied  by  Asiatic  and 
European  nations  to  all  of  the  astronomers  and  astrolo- 
gers of  Bab^don.  The  Chaldseans  mentioned  by  Daniel 
were  of  comparatively  late  origin  (Dan.  i.  1 — 7).  The 
later  Babylonian  empire  evidently  included  Chaldsea.  It 
was  established  by  Belesis,  called  by  Isaiah,  Baladan, 
(Isa.  xxxix.  1),  and  by  profane  historians,  Nabonassar. 
About  627  B.  C.  that  Babylonian  monarch  conspired  with 
Arbaces  the  Mede  and  destroyed  the  Assyrian  empire, 
then  governed  by  Sardanapalus,  and  thus  the  later  Baby- 
lonian or  Chaldsean  empire  was  formed. 

The  three  ancient  monarchies  which  we  have  considered, 
viz:  Babylonia,  Assyria,  and  Chaldsea,  were  situated 
either  between  or  very  near  the  Euphrates  and  Tigris, 
and  near  each  other,  if  not  at  times  united  into  one  em- 
pire. Those  countries  seem  to  have  been  first  settled  at 
about  the  same  period.  Their  inhabitants  were  probably 
descendants  of  Shem,  Ham  and  Japlieth,  as  it  was  in  the 
land  of  Shinar  or  Babylonia  that  the  dispersion  took  place, 
and  some  of  the  posterity  of  each  of  the  sons  of  J^oah 
would  be  likely  to  remain  in  that  region.  From  the 
languages  there  prevailing  however,  we  infer  that  the 
original  inhabitants  were  mostly  descendants  of  Shem. 


GEN.  XT  XT.  27. 


43 


They  were  doubtless  acquainted  with  those  arts  and  scien- 
ces which  Shem  received  from  his  father.  Undoubtedly  a 
knowledge  of  antediluvian  music  was  transmitted  through 
JS'oah  to  his  posterity,  and  additions  %ere  gradually  made 
to  that  information. 

There  is  a  reference  to  music  in  connection  with  a  cir- 
cumstance in  the  life  of  Jacob  and  Esau  (Gen.  xxxi.  27), 
which  must  have  occurred  according  to  the  usual  com- 
putation about  195  years  after  the  dispersion  (vid.  Gen. 
xi.  IS — 26  ;  xxi.  5  ;  xxv.  26  ;  xxvi.  34  ;  xxxi.  27,  41), 
about  A.  IE.  2250,  or  B.  C.  1754.  The  Assyrian  monar- 
chy was  then  in  a  flourishing  condition,  and  as  it  was 
situated  near  Syria,  where  Lab  an,  to  whom  reference 
is  made  above,  and  who  speaks  of  musical  instruments, 
resided,  it  is  highly  probable  that  the  Assyrians  used  the 
same  kinds  of  instruments  wliich  are  mentioned  by  him. 
Indeed  parts  of  Assyria  and  Syria  were,  during  some 
periods,  at  least,  identical.  Tiie  word  Syria  is  supposed 
by  some  to  be  merely  a  contraction  of  Assyria^  and  that 
both  terms  indicated,  in  ancient  times,  the  same  district  of 
country  ;  but  this  opinion  is  evidently  erroneous.  Laban 
was  the  son  of  Bethuel,  and  the  latter  was  the  nephew  of 
Abram,  and  Abram  resided  during  the  early  part  of  his 
life  in  Ur,  near  the  great  capital  of  the  Assyrian  empire. 
It  is  very  natural  to  suppose  that  Shem  handed  down  the 
knowledge  of  music,  which  existed  before  the  deluge,  to 
his  cotemporary  Abram,  aud  the  latter  to  his  nephew 
Bethuel,  the  Syrian,  and  Bethuel  to  his  son  Laban.  Tlie 
same  kinds  of  musical  instruments  essentially,  which  were 
used  before  the  deluge,  and  those  used  by  Laban,  doubt- 
less continued  to  be  used,  with  some  improvements,  by  the 
posterity  of  Abraham,  and  of  course  by  the  Hebrews. 


44 


INTRODUCTION. 


Both  the  Babylonian  and  Cbaldaean  music  must  have 
been  received  chiefly  from  Noah  and  his  posterity,  and 
consequently  must  have  been  essentially  the  same  in 
both  countries.  The  old  Babylonian  monarchy  was 
commenced  before  the  Assyrian  and  perhaps  may  have 
received  a  knowledge  of  music  first,  though  the  two  capi- 
tals J^ineveh  and  Babylon  were  built  nearly  at  the  same 
period,  and  the  inhabitants  of  each  had  about  the  same 
opportunity  to  become  acquainted  with  tlie  music  of  the 
antediluvian  world.  It  is  probable  that  those  cities  con- 
tinued to  be  inhabited  untir  comparatively  modern  times, 
by  some  of  the  posterity  of  Shem,  who  doubtless  made 
improvements  in  music  and  handed  down  their  knowledge 
of  the  art  to  future  generations.  The  exact  spot  on  which 
the  proud  city  of  Nineveh  stood,  has  not,  until  recently 
been  identified.  Only  four  mounds  were  to  be  seen 
where,  as  was  supposed,  that  city  once  reared  its  lofty  tur- 
rets. One  of  these  mounds  was  called  Jonah,  whose  tomb 
it  was  supposed  to  contain,  (vid,  Buckingham's  Travels 
in  Mesopotamia,  vol.  ii.  p.  49-50,  60).  Numerous  in- 
scriptions were  found  but  could  not  be  deciphered.  It 
remained  for  the  nineteenth  century  to  unfold  the  mys- 
teries contained  in  Egyptian,  Assyrian,  and  Babylonian 
inscriptions.  The  indefatigable  Layard  and  Botta  have 
done  more  than  any  other  persons  to  give  us  a  knowledge 
of  the  manners,  customs,  arts,  and  sciences  of  the  ancient 
Assyrians  by  actually  exhuming  the  palaces  of  the 
ancient  capital.  lu  describing  a  war  scene,  sculptured 
in  bas-relief,  on  the  walls  of  a  chamber  exhumed  at 
Nimrond,  Layard  remarks  :  "  two  musicians  are  playing 
with  a  plectrum,  on  stringed  instruments,  or  harps 
similar  to  those  on  slabs  Nos.  19  and  20  of  the  same 


NINEVEH. 


4$ 


chamber"  (vid.  Layards  Nineveli,  P.  i.  c.  x).  He  re- 
marks again :  "  it  is  probable  that  the  Assyrians,  like 
the  Egyptians,  had  various  musical  instruments ;  only 
one  kind,  however,  is  represented  in  the  sculptures.  It 
is  in  the  shape  of  a  triangle,  is  held  between  the  left 
arm  and  the  side,  and  appears  to  have  been  suspended 
from  the  neck.  The  strings,  nine  or  ten  in  number,  are 
stretched  between  a  flat  board  and  an  upright  bar  through 
which  they  pass.  Tassels  are  appended  to  the  ends  of 
the  strings,  and  the  bar  itself  is  generally  surmounted 
by  a  small  hand,  probably  of  metal  or  ivory.  The 
instrument  was  struck  with  a  plectrum  held  in  the  right 
hand ;  the  left  appears  to  have  been  used  either  to  pull 
the  strings,  or  to  produce  notes  by  pressure.  Like  the 
Egyptian  harp,  it  had  no  crosspiece  between  the  upright 
bar  and  the  flat  board  or  base  ;  it  is  diflicult,  therefore, 
to  understand  how  the  strings  could  have  been  suffic- 
iently tightened  to  produce  notes"  (vid.  Layard's  Nine- 
veh, P.  ii.  c.  vi).  The  writer  then  remarks  in  a  note  that 
this  same  instrument  is  represented  in  the  bas-relief  of 
the  king  standing  over  the  crouching  lion,  also  in  many 
other  places.  He  farther  remarks  that  the  god  wliich 
Mr.  Birch  supposes  to  be  Baal  is  represented  at  Talmis 
playing  on  a  triangular  lyre.  The  music  and  instruments 
there  indicated  must  have  been  quite  ancient,  for  I^ine- 
veh  was  destroyed  about  606  B.  C,  still  the  ten-stringed 
harp  is  far  from  being  the  most  ancient  form  of  that 
instrument. 

Immense  ruins  are  found  where  ancient  Babylon  stood. 
Bricks  are  to  be  seen,  which  have  been  fire-baked  and 
cemented  together  by  zepht  or  bitumen.  Between  each 
layer  are  oziers.    Some  of  the  bricks  are  large,  thick  and 


46 


INTRODUCTION. 


imprinted  witli  cuneiform  cliaracters.  Their  composition 
corresponds  exactly  with  the  account  given  by  the  sacred 
historian,  of  the  bricks  used  in  building  the  tower  of 
Babel.  Specimens  of  them  are  deposited  in  the  British 
Museum,  in  the  Museum  of  the  East  India  Company,  and 
in  other  rej^ositories  of  antiquities.  Some  important 
facts  have  been  made  known  in  respect  to  the  manners 
and  customs  of  the  Babylonians,  from  the  inscriptions 
which  have  been  deciphered ;  but  it  is  doubtful  whether 
any  discoveries  will  be  made  in  those  ruins  which  will 
throw  much  light  upon  the  arts  and  sciences  among  the 
antediluvians  and  especially  during  the  time  which 
elapsed  between  the  deluge  and  dispersion  of  mankind. 

Greece  was  inhabited  in  early  times  and  was  one  of 
the  first  regions  settled  by  the  posterity  of  Japheth  (vid. 
p.  27.  sui^TO).  Josephus  informs  us  that  Gomer,  one  of 
sons  of  Japheth  was  founder  of  the  Gomerites,  called  by 
the  Greeks,  in  the  time  of  Josephus,  Galatians  (Galls) 
(Josep.  Ant.  B.  i.  vi.  1).  He  mentions  the  seven  sons  of 
Japheth  and  the  places  in  Asia  Minor  where  most  of  them 
settled  ;  but  "  from  Javan,"  he  remarks  "  Jonia  (Ionia), 
and  all  of  the  Grecians  are  derived."  It  is  j)robable  that 
several  places  were  occupied  by  the  descendants  of  Japh- 
eth at  about  the  same  time  ;  but  we  have  more  authentic 
information  in  reference  to  Greece  than  in  respect  to 
other  places  of  their  abode.  In  the  Scriptures,  Greece 
often  signifies  all  of  those  countries  inhabited  by  the  pos- 
terity of  Javan.  In  the  Old  Testament,  Greece  and  the 
Greeks  are  indicated  by  the  term  Javan  (*jv)  (vid.  Isa. 
Ixvi.  19  ;  Eze.'  xxvii.  13,  19  ;  Dan.  x.  20  ; "  xi.  2).  It 
is  supposed  by  some  historians  that  Greece  was  first  settled 
as  early  as  1800  years  B.  C.  by  the  Pelasgi  who  seem  to 


GREECE. 


i7 


Tiave  emigrated  from  Egypt.  Others  place  tlie  settlement 
still  earlier,  while  another  class  think  that  the  credible 
history  of  the  country  does  not  extend  so  far  mto  antiquity. 

Little  is  known  of  the  Pelasgi  excepting  that  they 
lived  in  caves  and  were  cannibals.  They  were  much 
degraded,  being  almost  entirely  ignorant  of  the  arts  and 
sciences.  History  informs  us  that  about  1514  B.  C.  (some 
say  200  years  later),  the  Hellenes  migrated  into  the  coun- 
try from  Asia  and  either  expelled  or  civilized  the  Pelasgi. 
The  former  were  probably  descendants  of  either  Shem  or 
Japheth.  Subsequently  Phoenician  and  Egyptian  colon- 
ies settled  in  Greece  and  imparted  some  additional  know- 
ledge of  the  arts  and  sciences.  It  was  about  sixty  years 
after  the  settlement  of  the  Hellenes  in  the  country  when 
Cadmus,  a  Phoenician,  introduced  a  knowledge  of  the 
Alphabet.  The  inhabitants  of  Argos  and  indeed  of  all 
Greece  were  distinguished  for  their  love  of  music  ;  but 
the  art  was  cultivated  on  the  plains  of  Shinar  at  a  mucli 
earlier  period.  It  is  probable  that  the  inhabitants  of  an- 
cient Greece  obtained  their  knowledge  of  the  arts  and 
sciences  mostly  from  the  Phoenicians,  and  perhaps,  to 
some  extent,  from  the  Egyptians.  Of  course  their  music 
must  have  been  formed  after  the  Phoenician  and  Egyptian 
models,  with  the  improvements  which  their  own  skill  and 
taste  may  have  suggested. 

The  Egyptian  music,  we  shall  consider  hereafter.  That 
of  the  Phccnicians^  w^as  probably  about  the  same  as  that 
which  tlie  sons  of  Xoah  practised,  as  the  earliest  inhabi- 
tants of  Phoenicia  are  believed  to  have  been  nomad  tribes 
that  wandered  from  the  borders  of  the  Arabian  Sea  and 
Persian  Galf.  Hamaker,  in  his  Miscellanea  Phoenicia^ 
asserts  that  the  Phoenicians  came  from  the  borders  of  the 


INTRODUCTION. 


Arabian  Sea.  Tlieir  language  is  believed  to  bave  be- 
longed to  tbe  Canaanitisli  brancli  of  tlie  Shemitisli  family, 
and  is  imperfectly  understood,  as  no  Plioenician  writings 
are  extant  excepting  a  few  fragments,  found  in  Hebrew 
and  ancient  classical  writers.  During  tlie  time  of  Josh- 
ua, tlie  Phoenician  city  of  Tyre  existed  and  was  strongly 
fortified  (Josh.  xix.  29).  That  must  have  been  as  early 
as  1444  B.  C.  or  about  790  years  after  the  dispersion. 
Hengstenberg  supposes  that  the  Phoenicians  commenced 
their  colony  immediately  after  that  event  (vid.  De  Kebus, 
Tyriorum,  Berdini  1832.  p.  93).  They  doubtless  made 
improvements  upon  the  music  received  through  Noah 
and  his  posterity,  though  it  is  probable  that  they  did  not 
devote  much  attention  to  the  subject,  as  we  are  informed 
by  historians  that  they  did  not  cultivate  'poetry^  which  in 
all  ages,  has  been  intimately  connected  with  music.  Not- 
withstanding this  testimony  of  ancient  history  we  cannot 
divest  ourselves  of  the  belief  that  effusions  of  poetry  were 
frequent  even  among  the  Phoenicians,  though  it  may  not 
have  been  cultivated  as  an  art. 

China  was  inhabited  in  veiy  early  times.  Politz  in- 
forms us  that  several  small  kingdoms  and  States  existed 
in  that  country  2000  years  B.  C.  ;  but  that  its  credible 
history  began  a  little  before  the  Christian  era  (Politz 
"Welt  Gesch.  P.  i.  c.  11).  About  two  hundred  years  B. 
C.  the  Emperor  Xi  Hoam  Ti  caused  a  general  destruction 
of  the  ancient  books.  He  ordered  upon  pain  of  death  all 
monuments  of  antiquity  to  be  destroyed,  and  executed 
many  of  the  learned  men  of  the  empire.  Since  his  time 
a  few  fragments  only  of  ancient  history  can  be  found,  so 
that  we  can  learn  little  with  certainty  in  respect  to  the 
antiquity  of  the  country,  before  the  reign  of  that  tyrant. 


CHDsA. 


49 


Siipposinsr,  as  was  probably  the  fact,  that  tlie  country 
was  settled  by  some  rude  hordes  2000  years  B.  C.  or 
about  234  vears  after  the  disj)ersioii5  we  shall  reach  a 
period  when  the  Assyrian  empire  was  in  a  flourishing 
condition.  It  is  very  difficult  if  not  impossible  to  ascer- 
tain the  orii^in  of  the  earliest  inhabitants  of  China.  Their 
features  and  skulls  indicate  that  they  originated  from  the 
Mongols.  Sir  William  Jones,  who  investigated  the  sub- 
ject, makes  them  of  Indian  descent  (vid.  Asiat.  Resear. 
vol.  II.  mem.  21).  This  is,  perliaps,  the  most  probable 
suppo^itio!!,  though  the  Chinese  language  is  entirely  dif- 
ferent fn.m  that  of  the  Hindoos.  Jones  farther  supposes 
that  before  they  left  India,  they  were  of  the  military 
caste,  and  very  much  degraded,  that  they  had  probably 
lost  a  knowledge  of  the  Indian  tongue,  and  gradually,  as 
they  advanced  in  cultivation,  formed  a  language  which, 
by  improvements,  became  what  it  now  is,  (vid.  p. 
supra).  The  origin  of  the  Hindoos  we  shall  consider 
hereafier,  (vid.  p.  50  infra).  Assuming  the  Indian  origin 
of  the  Chinese,  their  music  must  have  been  similar  to 
that  of  India,  unless  they  had  entirely  lost  a  knowledge 
of  it,  as  they  are  supposed  to  have  done  of  their  language. 
Sir  George  Stanton,  who  accompanied  the  Earl  of  Mac- 
artney, in  1792  on  an  embassy  to  the  Emperor  of  China, 
informs  us  that  he  witnessed  the  ceremonies  of  worship- 
ping the  Einperor  at  the  palace  of  Zhe-hal  in  Tartary. — 
The  principal  officers  of  state  were  introduced  into  a  vast 
hall  and  thence  into  a  temple,  fui-nished  with  great  in- 
struments of  music,  among  which  were  cylindrical  bells, 
suspended  in  a  line  from  ornamented  frames  of  wood, 
and  gradually  diminishing  in  size  from  one  end  to  the 
other.  There  were  also  triangular  pieces  of  metal  ar- 
3 


50 


INTR0DUCTI02T. 


ranged  in  the  same  order  as  tlie  bells.  To  tlie  sound  of 
these  instruments  a  slow  and  solemn  hymn  was  sung  by 
eunuchs.  The  performers,  in  gliding  from  one  tone  to 
anotlier,  were  directed  by  the  striking  of  a  shrill  and 
sonorous  cymbal.  The  whole,  says  Stanton,  had  a  grand 
effect.  These  instruments  were  of  simple  construction, 
of  tlie  percussion  class,  and  probably  the  same,  essentially, 
which  had  been  used  for  centuries,  as  the  Chinese  are 
extremely  slow  to  cliange  any  of  their  customs  or  habits, 
or  to  make  improvements  in  their  knowledge  of  the  arts 
and  sciences. 

India  was  evidently  settled  in  very  early  times,  and 
some  of  the  learned  believe  it  to  have  been  the  most 
ancient  country  inhabited  by  man.  The  name  India  is 
derived  from  the  Greeks,  who  seem  to  have  borrowed  it 
from  the  Persians  as  it  is  unknown  to  the  natives.  The 
term  was  used  by  the  Greeks  to  denote  an  indelinite  ex- 
tent of  country  reaching  beyond  the  Indus  ;  the  historian 
Politz  intimates  that,  possibly,  it  was  the  most  anciently 
inhabited  country  (Politz  AYelt  Gescli.  P.  i.  c.  6).  Some 
modern  historians  are  of  tlie  opinion  that  a  portion  of  the 
sacred  writings  of  the  Hindoos  is  worthy  of  credit. 
Their  most  ancient  epoch  (called  Caliyng)  commences 
B.  C.  3101,  and  there  is  a  tradition  among  them  indica- 
ting that  they  were  not  a  colon}^  from  any  other  tribe. 
Their  astronomical  knowledge,  existing  before  the  period 
to  which  history  extends,  the  antiquity  ascribed  to  their 
alphabet,  language  and  religious  tradition,  handed  down 
by  means  of  pictures  and  writings,  are  thought  by  many 
to  point  to  a  development  of  the  human  intellect  from  its 
first  germ.  The  fact  is  well  authenticated  that  a  tender 
and  imaginative  poetry  existed  among  them  1000  years 


INDIA. 


51 


B.  C,  and  the  immense  rock  upon  wliich  tlieir  mythology- 
is  sculptured  is  a  work,  in  comparison  with  which,  the 
pyramids  of  Egypt  appear  young.  A  native  tradition 
fixes  the  origin  of  the  Yedas  (being  revehitioiis  from 
Brahma)  at  4900  B.  C.  This,  of  course,  is  extravagant ; 
but  the  Oupnek-hat  (consisting  of  explanations  of  sacred 
mysteries),  according  to  Darashaku.  a  distinguished  prince 
in  Cashmere,  who  ti-anslated  the  work  into  the  Persian 
language,  that  the  four  Yedas  must  have  been  written  at 
least  2000  years  before  Christ.  AVhen  the  Greeks  trav- 
eled in  India,  they  found  their  Bacchus  and  Hercules 
engaged  in  the  same  deeds  as  in  their  own  country. 
They  found  a  mythology  similar  to  their  own,  hence 
they  concluded  that  Pythagoras  had  traveled  in  that 
coiintrv,  and  there  obtained  much  of  the  kn.-^iwledore 
which  he  imparted  to  his  own  countrymen.  It  is  thought 
that  the  deities  of  Greece  were  not  originally  of  Greek 
nor  Egyptian  extraction ;  but  that  they  had  their  origin 
in  India,  their  names  only  being  changed.  Yishnu  and 
Bhavani,  Xared  and  Sereswatti  gave  place  to  Jupiter, 
Yenus,  Mercury  and  Ceres.  T!ie  deities  did  not  hold 
their  court  on  Mount  Meru,  but  on  Mount  Ida,  at  the 
head  of  the  Scamander,  and  not  on  the  Ganges.  Tlie 
same  animals  marked  their  shrines  and  gave  occasion  for 
the  worship  of  brutes,  ])lants  and  insects.  The  Greek 
historians  regarded  the.  traditions  which  they  obtained 
from  that  country  as  remnants  of  its  high  antiquity.  It 
seems  clear  that  the  Hindoos,  in  very  early  times,  were 
engaged  in  commerce  and  acquainted  with  several  of  the 
arts  and  sciences,  and  probably  with  music.  Some  of 
their  most  ancient  writings  were  in  verse,  and  it  is  gen- 
erally believed  that,  in  ancient  times,  poetry  and  music 


52 


INTRODUCTION. 


were  in  constant  coalescence.  It  is  probable  that  the 
Lidians  had  some  kind  of  music  to  accompany  the  recital 
of  tlieir  poems. 

The  country  is  mentioned  in  the  sacred  scriptures.  In 

the  book  of  Estlier,  i.  1,  and  viii.  9  (Heb.  ^I'^n  ho<Jdio 

for  ^'^^n  Jionrlii^  Syr.  o^Jcti  hawlu).  The  vrriter  remarks 
that  Ahasuerns  reigned  from  India  to  ^Ethiopia.  The 
events  described  in  that  book  occurred  about  900  years 
B.  C.  and  it  was  probably  written  soon  after. 

The  exact  time  when  a  government  was  first  estab- 
lished in  India  seems  to  be  lost  amid  fragmentary, 
contradictory,  imaginary,  and  foolish  traditions  and 
histories.  The  most  probable  supposition  is  that  the 
country  was  settled  by  the  descendants  of  Shem  at  a 
period  not  far  from  the  dispersion  of  mankind.  This 
opinion  is  corroborated  from  the  fact  to  which  we  have 
already  alluded,  viz:  that  there  is  no  authentic  account 
that  the  first  inhabitants  were  a  colony  from  any  other 
country ;  also  from  the  fact  that  the  posterity  of  Shem 
evidentlv  moved  eastward  and  must  soon  have  reached 
India.  It  is  worthy  of  remark  that  the  principal 
language  of  that  country  which  is  the  Sanscrit,  seems  to 
be  of  Shemitish  orimn. 

It  is  possible  that  India  was  the  first  civilized  country 
after  the  dispersion.  There  are  strong  reasons  for  believ- 
ing, that  Babylonia,  Ethiopia,  and  Egypt  received  their 
earliest  knowledge  of  the  arts  and  sciences  from  that 
country.  Still  there  is  so  much  obscurity  and  such  a 
want  of  well  authenticated  fiicts  upon  the  subject  that  it 
is  now  impossible  to  arrive  at  the  truth. 

Several  countries  were  settled  in  very  ancient  times; 
but  probably  it  is  not  possible  now  to  determine  with 


INDIA. 


63 


certainty  wliicli  was  first  inhabited  after  Babylonia.  It 
is  pretty  evident  from  the  information  now  accessible 
that  that  was  the  lirst.  It  is  also  impossible  to  ascertain 
beyond  a  doubt  which  of  the  ancient  countries,  not 
excepting  Babylonia,  first  cultivated  the  arts  and  sciences 
to  any  considerable  extent.  Politz  asserts  that  Canda- 
har,  in  the  earliest  times,  was  the  most  cultivated  spot  in 
India.  It  is  now  a  city  in  Afghanistan  a  considerable 
distance  east  of  ancient  Babylon,  where  the  dispersion 
occurred.  It  was  not  probably  long  after  that  event,  as 
"we  have  already  intimated,  when  some  of  the  nomad 
tribes  of  Shem's  posterity  reached  the  borders  of  India. 
The  knowledge  of  music  which  the  first  inhabitants 
possessed,  was  probably  derived  chiefly  from  Shem  and 
his  immediate  descendants.  How  ra})idly  they  improved 
in  the  art  we  cannot  now  ascertain  ;  but  all  of  the  facts 
which  we  have  with  regard  to  their  cultivation  of  the 
arts  and  sciences,  indicate  a  slow  progress  in  improve- 
ments of  every  kind.  It  is  probable  that,  in  every 
country,  modern  vocal  music  and  especially  modern 
musical  instruments  bear  much  resemblance  to  ancient 
music  and  musical  instruments  in  those  countries.  In 
the  modern  instrumerds  at  least  we  shall  find  the  elements 
or  outlines  of  the  ancient  ones,  but  much  improved  and 
adorned.  It  must  be  so  especially  in  India,  a  country, 
the  religious  notions  and  peculiarities  of  whose  inhabit- 
ants, forbid  that  they  should  make  changes  in  their 
customs,  and  especially  in  those  which  pertain  to  religion. 
Their  castes  have  no  doubt  handed  down,  century  after 
century,  nearly  the  same  customs  and  the  same  music 
and  musical  instruments  as  were  used  in  the  earliest 
times.     Musical  instruments  have  not  perhaps  been 


54 


lOTEODUCTION. 


iiiaterlally  changed  for  ages.  The  three  grand  classes 
exist  at  the  present  time  in  that  country  wliich  were 
found  among  the  ancient  Hebrews  and  Egyptians,  viz: 
Percussion,  Stringed  and  AVind  instruments.  Rev.  Dr. 
Malcom,  in  his  book  of  travels  in  South  Eastern  Asia, 
gives  drawings  and  desci'iptions  of  musical  instruments 
wliich  are  now  used  in  Burmah,  a  province  of  Farther 
India.  We  will  present  descriptions  of  two  of  them  with 
drawings  (vid.  Malcom's  Travels  in  S.  E.  Asia.  Yol.  i. 
pp.  20i,  205). 

"  The  Tseing^  S^hing  or  Boundaw,  is  a  collection  of 
small  drums,"  says  Malcom,  "  suspended  around  the 

inside  of  a  richly-carved 
fj'ame  of  wood,  about  three 
feet  high.  They  regularly 
diminish  in  size  from  that 
of  a  two-gallon  measure  to 
that  of  a  pint.  The  player 
sits  within  the  circle  and 
with  his  hands  produces  a 
rude  tune  or  accompaniment. 
Drumsticks  are  not  often 
used.  In  the  full  band  the  Boundaw  is  never  omit- 
ted." 

Otherf<  of  the  percussion  kind,  Dr.  Malcom  informs  us, 
are  the  Ifoung  or  Gong/  Pan-ma-gyee  or  Dnimj  the 
Kyay-wyng^  or  sixteen  Gongs  in  a  square  or  circular 
form  ;  the  Kyay-Tiouk^  similar  to  the  last,  and  the  Paio- 
lah^  constructed  by  placing  pieces  of  bamboo  on  strings 
wliich  are  struck  by  a  stick. 


FIG.  II. 


BOUNDAW  OK  BCKMESE  DKUMS. 


IXDIAX  irusic. 


55 


The  Stringed  Instruments  are  the  Tey-au  or  Ta-yaio^ 
FIG.  in.  a  v'lolhi,  with  two  or  three 
  string's,  phiyecl  with  a  bow. 

Jl^  ^^^^^^•^^ '  "^''^  belly  is  sometimes  carved 

lJ  \  I  out  of  a  solid  piece.    The  tone 

TA-TAw  OK  BUBMESE  VIOLIN.        f.^j.  fj-Qm  bciiig  pleasaiit. 

The  Soling  or  Harp^  tlie  Menourn,  or  2fe^kyoung^  a 
Guitar^  are  also  stringed  instruments.  Their  TTzW 
Instrtiiatnts  are  the  Pay-looay^  a  kind  of  hautloy ^  and 
the  Ilnch  or  claHonet  witliout  keys. 

Sir  William  Jones  informs  iis  that  the  musical  scale  of 
the  Hindoos  is  divided  into  minute  intervals,  like  that  of 
the  Arabs — twenty  two  quarters  and  thirds  of  a  tone  be- 
ins:  unanimouslv  reckoned  in  their  octave.  It  would 
seem,  however,  that  this  enharmonic  genus  among  them 
is  rather  scientific  than  practical,  for  Jones  says  that  he 
had  tried  in  vaiu  to  discover  any  difference  in  practice 
between  the  Indian  and  European  musical  scale.  A 
thorough  examination  of  the  music,  and  especially  the 
musical  instruments  of  India,  might  throw  light  upon 
Egyptian  music,  if  indeed,  as  some  suppose,  the  Egyp- 
tians received  their  first  cultivation  from  India. 

Egypt  was  among  the  earliest  inhabited  countries.  It 
is  a  fact  pretty  well  established,  that  the  Egyptian  mon- 
archy was  formed  by  a  colony  from  Ethiopia  (the  pre- 
sent Xubia  and  Abyssinia),  in  Upper  Egypt,  then  inhab- 
ited by  pastoral  tribes.  The  languages  and  customs  of 
the  Egyptians  and  Ethiopians  were  very  similar,  and  it 
is  highly  probable  that  the  former  received  their  first 
civilized  inhabitants  from  the  latter.  Tliere  is  a  tradi- 
tion, authenticated  by  an  ancient  astronomical  observa- 
tion, that,  very  early,  the  Babylonian  Hermes  (Thoth) 


56 


INTRODUCTION. 


went  to  Ethiopia  and  founded  tlie  state.  This  would  in- 
dicate that  the  Egyptian  monarchy  was  established  after 
the  -Ethiopian,  and  the  latter  after  the  Babylonian.  The 
monarchy  of  Egypt  is  supposed  to  have  been  founded  by 
Menes,  according  to  Usher's  chronology,  2222  B.  C,  only 
about  twelve  years  after  the  dispersion  of  mankind. 
Others  have  placed  that  event  a  few  years  later,  and 
others  many  centuries  later  still.  Hieroglyphics  found 
upon  ancient  monuments  have  been  deciphered  and 
explained  by  Champollion,  Young,  Spolm,  Akerblad, 
Zoega,  Seyffarth,  Kosegarten  and  others,  still  it  is  ex- 
tremely doubtful  whether  it  can  be  exactlj^  ascertained 
when  Menes  commenced  his  reign.  The  statements  of 
historians  and  chronologists  are  so  various  and  contradic- 
tory that  w^e  are  forced  back  to  the  insj^ired  volume  as 
the  only  reliable  source  of  information  in  respect  to  the 
earliest  history  of  that  country.  The  Hebrew  term 
"iniUrdyim)  translated  Egypt,  is  the  name  of  a 

grandson  of  IS'oah,  and  refers  us  directly  back  to  a  period 
soon  after  the  deluge  (Gen.  x.  1 — 6).  We  are  informed 
in  the  twelfth  chapter  of  Genesis,  that  Abraham,  in  con- 
secpience  of  a  famhie  which  was  prevailing  in  the  land 
of  Canaan,  went  down  into  Egypt.  This,  according  to 
our  usual  computation,  was  1920  years  B.  C.,  or  314 
after  the  dispersion.  There  tlie  patriarch  found  a  sover- 
eign, a  court,  and  princes.  About  1720  B.  C.  Joseph  was 
carried  into  Egypt,  as  described  in  Gen.  xxxix. 

Some  suppose  that  the  Egyptians  were  a  colony  from 
India,  as  the  pyramids  are  very  similar  in  their  construc- 
tion to  the  pagodas  of  that  country,  and  contain  sacred 
relics,  and  not  the  bones  of  kings,  indicating  tliat  they 
may  have  been  originally  intended  for  Buddhist  temples. 


EGYPT. 


5T 


It  has  been  said  that  India  could  not  have  received  her 
religion  from  the  Egyptians,  Persians,  Greeks  or  Homans, 
as  that  would  have  been  in  utter  violation  of  her  most 
sacred  tenets.  It  is  possible  that  Egypt,  in  very  early 
times,  received  some  knowledge  of  the  arts  and  sciences 
and  of  religious  customs  from  India ;  but  there  are  so 
few  well  authenticated  facts  upon  the  subject  it  is  diffi- 
cult to  decide. 

The  ancient  Jews  undoubtedly  adopted  many  customs 
of  the  people  among  whom  they  dwelt.  When  in  Egypt, 
they  worshipped  Egyptian  deities,  when  in  the  wilder- 
ness, they  did  homage  to  the  gods  of  the  Canaanites, 
Egyptians,  Ammonites  and  Moabites,  and  when  in  Ju- 
d^a  to  those  of  tlie  Phoenicians,  S^^rians  and  others. 
Jacob  induced  his  family  to  adore  the  God  of  the  He- 
brews, but  soon  after  his  death,  they  forgot  the  instruc- 
tions of  a  kind  father  and  bowed  down  to  Egyptian 
deities. 

After  the  return  of  the  Jews  from  captivity,  however, 
they  seem  to  have  adhered  more  generally  to  the  wor- 
ship of  Jehovah,  as  we  do  not  hnd  that  they  were 
rebuked  for  idolatry.  With  the  exception  of  a  few  under 
Antiochus  Epiphaiies  (Mac.  i.  12,  etc.)  they  preserved 
the  worship  of  God  in  its  purity.  To  imitate  their 
heathen  neighbors  in  religious  matters  was  regarded  as 
idolatry,  and  the  severest  denunciations  were  uttered 
against  it. 

It  was  diiferent,  however,  in  respect  to  music,  which 
was  innocent  in  itself  and  might  be  useful  as  well 
as  pleasant  for  recreation,  and  very  beneficial  in  re- 
ligious worship.  The  Hebrews  undoubtedly  retained 
much  of  the  knowledge  of  music  and  many  of  the  forms 


58 


INTRODUCTION. 


of  musical  instruments  with  whicli  tliey  became  ac- 
quainted while  in  Egypt.  If  thej  copied  other  things 
from  the  natives,  it  is  reasonable  to  suppose  that  so 
attractive  an  art  as  music  would  be  imitated. 

Shall  we  then  present  a  brief  view  of  the  art  in  ancient 
Egypt?  There  are  strong  reasons  to  believe  that  the 
Egyptians  cultivated  music  nearly  from  the  time  of  their 
existence  as  a  nation,  though  within  certain  limits,  as  not 
all  were  permitted  to  practise  it.  So  in  the  East  at  the 
present  day,  there  are  particular  classes  who  may  be  mu- 
sicians, such  as  the  Almeh,  Gasie,  Tschingane,  etc.  Nie- 
buhr  informs  us  that  "it  is  deemed  improper  for  a 
respectable  Turk  or  Arab  to  understand  music.  The 
people  of  rank,  therefore,  among  the  Orientals,  being 
themselves,  by  no  means,  great  connoisseurs  of  the  art  of 
music,  and  those  who  apply  tliemselves  to  it  being  not  so 
well  paid  as  they  are  with  us,  it  is  not  at  all  strange  that 
this  art  has  not  advanced  to  such  a  degree  in  this  part  of 
the  world  as  it  has  in  Europe."  It  is  probable  that  the 
Egyptians  were  acquainted  with  a  rude  kind  of  music, 
even  in  their  nomadic  state.  The  assertion  of  Diodorus 
Siculns,  that  they  prohibited  the  cultivation  of  the  art,  is 
contradicted  by  Plato,  who  resided  in  Egypt,  attending 
to  literary  pursuits,  for  thirteen  years.  Strabo  informs 
us  that  the  Egyptians  taught  their  children  letters,  songs, 
and  a  certain  species  of  music,  which  was  establislied  by 
government.  Instruments  of  music  must  have  been 
known  by  that  people  in  very  early  times,  as  they  are 
found  sculptured  on  the  ruins  of  their  most  ancient  monu- 
ments. Distinguished  travelers  have  visited  the  country 
at  difierent  periods,  and  abundantly  proved  the  fact  that 
the  early  inhabitants  were  acquainted  with  the  three 


ANCIENT  EGYPTIAN  MUSIC. 


59 


grand  classes,  viz :  percussion,  stringed,  and  wind  instru- 
ments. It  is  possible,  and  perhaps  probable,  that  the 
same  kinds  of  instruments  which  were  used  before  the 
delnge,  were  employed  after  that  event,  and  perhaps  in 
ancient  Egvpt.  Indeed,  N^oah  may  have  preserved  some 
of  them,  and  it  is  possible  that  antediluvian  instruments 
or  parts  of  them  may  have  been  found  after  that  event. 
However  this  may  have  been,  I^oah,  as  we  have  before 
intimated  (vid.  pp.  43,  52,  supra),  doubtless  was  ac- 
quainted with  the  antediluvian  music,  and  transmitted 
that  knowledge  of  the  art  to  his  posterity.  It  is  evident 
that  there  were  instruments  after  the  deluge  havino:  the 
same  names  as  those  which  were  employed  by  Jubal. 

Music  is  mentioned  in  the  sacred  Scriptures  as  existing 
about  600  years  after  the  flood,  or  a  little  more  than  1700 
years  B.  C.  About  1500  J3.  C.  the  lyrical  effusions  of 
Moses  appear.  From  Gen.  xxxi.  27,  we  perceive  that 
both,  vocal  and  instrumental  music  w^as  practised,  and 
probably  common  at  tlie  time  to  which  reference  is  made 
in  that  passage.  The  event  there  described  occurred  in 
Haran,  where  Laban  resided,  a  little  more  than  600  years 
after  the  deluge.  That  town  was  on  the  way  from  C.'hal- 
dsea  to  Canaan  (Gen.  xi.  31),  and  not  a  great  distance 
from  Egypt.  But  long  before  that  time,  as  we  have 
already  intimated,  music  was  cultivated  on  the  Nile. 

We  find  instruments  of  music  sculptured  on  tlie  most 
ancient  monuments,  Champollion  informs  us  that  the 
sculptures  on  the  monument  El  Asaffif  are  ascertained  to 
be  more  than  3500  years  old,  having  been  Avrought  about 
1645  B.  C,  or,  according  to  Usher,  about  577  yeurs  after 
the  monarchy  of  Egypt  Avas  established.  The  first  coast- 
ing trade  in  Egypt  is  supposed  to  have  commenced  with 


60 


INTRODUCTION. 


Plioenician  smugglers,  and  with  Inaclius,  who  led  an 
Egyptian  colony  to  Greece  in  Phoenician  vessels  about 
1836  B.  C.  The  Scripture  account  of  foreign  states, 
names  Shishak  as  the  Pharaoh  of  Egypt  and  ally  of  Jero- 
boam about  975  B.  C.  (vid.  1  Kings  xi.  40 ;  xiv.  25  ;  II 
Chron.  xii.  2, 5,  7,  9).  Psammeticus  established  a  monarchy 
which  continued  from  636  to  525  B.  C.  The  nation  was 
then  highly  civilized,  and  music  and  the  various  arts  and 
sciences  were  in  a  flourishiug  state.  Egypt  next  became 
subject  to  Cambyses,  and  was  incorporated  into  the  Per- 
sian empire.  Alexander  conquered  the  country  B.  C. 
832.  After  the  division  of  the  Macedonian  empii-e,  the 
reign  of  the  Ptolemies  began. 

From  very  early  times,  improvements  were  doubtless 
made  in  music  and  the  tine  arts.  The  numerous  sculp- 
tures and  inscriptions  on  Egyptian  monuments  are  full  of 
interest,  and  richly  repay  tlie  labor  of  investigation.  Dr. 
Shaw  traveled  in  several  parts  of  Barbary  and  the  Le- 
vant, and  collected  materials  upon  the  subject  for  publi- 
cation, between  1720  and  1733.  He  presents  important 
information  in  reference  to  the  music  of  those  countries 
which  he  visited.  In  respect  to  ancient  Egypt,  he  testi- 
fies, as  many  had  done  before  him,  that  representations 
of  musical  instruments,  and  especially  the  sistrum,  may 
be  found  sculptured  on  various  ruins  upon  the  'Nile  (vid. 
Yol.  I.,  p.  202  sq.  ;  Yol.  II.,  p.  350  sq.,  ed.  1757).  Dr. 
Alexander  Pussell,  in  his  Natural  History  of  Aleppo, 
published  in  1751:  and  1794,  has  given  important  informa- 
tion in  respect  to  the  present  state  of  music  and  musical 
instruments  in  a  part  of  the  East ;  but  he  says  very  little 
about  ancient  music,  and  especially  that  of  ancient  Egypt 
(Yol.  I.,  pp.  142,  145,  147,  150-156,  with  plate  iv.  and 


AXCIEXT  EGYPTIAN  MUSIC. 


61 


'Note  xxxix.  p.  3S6).  In  1737  and  173S  Captain  Xordeii 
and  Dr.  R.  Pococke  traveled  in  Egypt,  and  gave  an  inter- 
esting account  of  their  discoveries;  but  said  little  con- 
cernino'  ancient  music.  Pococke  brouo'ht  a  seal  from 
that  country  upon  which  was  engraved  a  kind  of  hai'p, 
but  not  of  much  authority.  He  also  found  a  statue  of 
Isis,  upon  which  was  sculptured  a  sistrum  (Deer,  of  the 
East,  Vol.  I.,  p.  21-i,  plate  Ixv).  Sistra  are  described  by 
Jablonski  and  Bernardo  de  Montfaugon,  in  tlieir  works 
on  Egyptian  antiquities.  Dr.  Pococke,  on  p.  1S6,  de- 
scribes the  jVaJcous,  a  kind  of  castauet  (plate  Ivii.  tig.  iv). 
Calmet  informs  us  that  Ca[*tain  Xorden  fou:;d  the  guitar 
in  use  among  the  modern  Egyptians.  Pieiffer  investi- 
gated this  subject  in  1779  ;  but  there  was  thci  compara- 
tively a  small  amount  of  information  accessible  to  the 
scholar  upon  Egyptian  antiquities,  the  only  sources  being 
occasional  references  to  the  subject  contained  in  the  sa- 
cred Scriptures,  a  little  light  from  the  Greeks,  Komans, 
and  Phoenicians,  some  sculptures  from  dilapidated  ruins,* 
a  small  number  of  coins,  and  the  Isiac  Table.  This  last 
was  discovered  at  Rome  in  1525,  but  is  now  lost,  though 
correct  drawings  of  it  are  extant.  It  contained,  among 
other  sculptures,  that  of  a  harp  and  si&trum.  Its  origin 
is  doubtful,  some  supposing  it  to  be  really  Egyptian, 
while  others  believe  it  to  have  been  made  for  the  Egyp- 
tians at  Rome.f  PfeifFer  was  only  acquainted  with  tliese 
rather  uncertain  sources  and  what  other  information  was 

*  Vid.  Calmet,  Vol.  III.,  p.  250,  Xo.  203,  ed.  Charlestown, 
1813. 

t  Rees'  Cyclop.  Art.  Isiac  ;  Burner's  Hist.  Music,  Vol.  I.,  p. 
205,  520  ;  Montfangon  Antiq.  Com.  Red.,  p.  174,  and  Jablon- 
skii  Opuscula,  Tres.  Dis.,  Tom.  XI.,  pp.  227-273. 


62 


INTRODUCTION. 


then  knowu  in  respect  to  music  in  the  East.  He,  indeed, 
presents  many  interesting  considerations;  but  since  his 
day  many  important  discoveries  in  respect  to  Egyptian 
antiquities  have  been  made.  The  tomb  of  Ismonides  or 
Osymandyas,  particularl}^  described  by  Diodorus  Sicuhis 
(Lib.  i.,  c.  47),  is  supposed  to  have  been  built  2000  years 
B.  C.  Pococke  informs  us  that  the  walls  of  its  rooms 
were  adorDcd  with  sculptures  consisting,  among  other 
things,  of  instruments  of  music.  If  Diodorus'  testimony 
is  to  be  credited,  the  tomb  must  have  been  built  about 
200  years  after  the  monarchy  of  Egypt  was  founded,  and 
about  350  years  after  the  deluge,  indicating  the  very 
earl 3^  cultivation  of  music  in  that  land.  Erom  a  broken 
pillar  of  great  antiquity  in  the  Campus  Martins  at  Kome, 
Dr.  Burney  obtained  the  di-awing  of  an  instrument — a 
kind  of  Dichord  Guitar,  corresponding,  as  nearly  as  can 
be  ascertained  from  an  imperfect  sculpture,  to  the  fol- 
lowing cut,  Eig,  iv. 

The  globe  or  rounding  part  of  the  instrument,  at  the 
lower  end,  approaches  nearer  to  a  parallelogram  with 
rounded  corners,  than  the  drawing  would  indicate. 
The  j)illar  or  obelisk  from  which  this  representation  was 
taken,  with  another  pillar,  was  brought  to  Rome  by  the 
comnumd  of  Augustus  after  he  had  reduced  Egypt  to  a 
Eoman  province.  It  is  supposed  to  have  been  erected  at 
Heliopolis  by  Sesostris,  perhaps  in  commemoration  of  the 
invention  of  the  Egyptian  guitar  nearly  400  years  before 
the  Trojan  war.  It  was  placed  in  the  Campus  Martius  at- 
Rome,  and  when  the  city  was  sacked  and  burned  by  the 
Duke  of  Bourbon,  general  to  the  Emperor  Charles  Y.  in 
1727,  this  ancient  obelisk  was  thrown  down  and  broken. 

Subsequently,  Kiebuhr  traveled  in  Egypt  and  present- 


64 


INTEODTJCTION. 


ed  a  more  full  and  accurate  account  of  modern  music, 
and  especially  of  musical  instruments  in  that  country  than 
any  one  preceding  him.  Abbe  de  St.  Non  of  Paris,  a 
short  time  before  his  death  in  1791,  published  his  views 
in  which  are  sketched  from  the  walls  of  the  Royal  sepul- 
chres west  of  Thebes  and  from  the  temple  of  Tentyra  or 
Denderah,  seven  figures  of  musical  instruments  with  their 
performers.  There  is  found  the  ancient  ibrm  of  the  harp 
with,  four  strings.  The  information  which  he  furnished 
was  of  much  more  importance  than  any  thing  which  had 
previously  been  published.  It  was  left  for  the  Savans  of 
jSapoleon  to  lay  open  the  true  state  of  the  arts  and  sci- 
ences in  ancient  Egypt.  In  some  cases,  they  as  w^ell  as 
other  writers,  have  added  in  their  drawings,  modern  dra- 
pery ;  for  instance  the  priest  described  by  Bruce  as  play- 
ing upon  the  harp,  is  clad  in  a  deep  black  robe  striped 
with  white,  instead  of  a  white  one  spotted  with  red  ac- 
cording to  the  Egyptian  costume.  The  man,  who  is  re- 
presented as  sitting  in  a  chair  at  a  short  distance  listen- 
ing to  the  music,  appears  in  blue  pantaloons  and  Avaist- 
coat  and  a  cap  resejnbling  the  cap  of  liberty,  which  are 
not  Egyptian.  The  Savans  have  been  criticised  by  Dr. 
Russell  a,nd  others  on  that  account ;  but  they  have  given 
a  far  more  reliable  and  full  view  than  any  of  their  pre- 
decessors. 

The  great  work  of  tlie  Savans,  entitled  ^'  Description 
deV Egijpte'''''^  is  an  important  lielp  upon  this  subject,  as 

*  We  would  here  present  our  acknowledgments  to  the  libra- 
rians of  Harvard  University,  and  of  the  Astor  Tiibrary  in 
this  city,  in  furnishing  every  requisite  facility  for  the  examin- 
ation of  this  great  work  and  others  upon  Egyptian  antiquities. 
Several  of  onr  engravings  of  instruments  were  copied  from  the 
work  of  the  Savans. 


THE  STJINS  OF  MEMPHIS  AND  THEBES. 


65 


it  treats  extensively  of  modern  as  well  as  ancient  Egyp- 
tian music.  In  respect  to  the  latter,  Yilloteau,  who  had 
charge  of  the  department  relating  to  music,  takes  Jablon- 
ski  chiefly,  as  his  philological  guide.  He  first  made 
himself  thoroughly  acquainted  with  modern  Egyptian 
music  in  all  of  its  branches,  then  uniting  his  own  obser- 
vations with  the  learned  investigations  of  Jablonski,  he 
was  enabled  to  present  a  very  accurate  and  full  view  of 
the  whole  subject.  In  his  plates  we  find  elegant  engravings 
of  the  three  grand  classes  into  which  the  musical  instru- 
ments are  usually  divided,  and  under  such  circumstances 
as  to  fully  authenticate  their  high  antiquity.  They  were 
taken  from  ruins  on  the  island  of  Philce^  at  Elethyia^ 
now  called  El  Kab ;  Tentyra  ov  Denderah ;  in  the  tombs  of 
the  Pyramids  of  Mcmjyhis  ;  and  the  copious  ruins  of  sep- 
ulchres and  temples  in  and  around  Thebes.  The  exact 
antiquity  of  these  splendid  mins  cannot  be  ascertained. 
Of  the  island  of  Philee,  Belzoni  remarks,  "  the  prospect 
of  the  island  and  its  ruins  is  truly  magnificent,  particu- 
larly at  some  distance,  thougli  it  is  extremely  barren." 
*  ^  ^  "  Tlie  style  of  the  hieroglyphics,  proves  that  the 
edifice  on  it,  which  consists  of  two  temples  nearly  united 
together,  is  of  the  last  era  of  the  Egyptian  nation,  in  my 
opinion  of  the  Ptolemies." 

Elethyia  (E/X7)&u<aff  PoXi?,  Latin,  LuGi7ia\  is  situated  on 
the  east  side  of  the  Xile  between  fifty  and  sixty  miles 
north  of  Syene,  and  not  as  far  south  of  Thebes.  The 
ruins  are  quite  extensive,  lying  in  the  modern  village 
called  El  Kab,  which  is  supposed  to  be  near  the  place 
where  the  ancient  city  stood.  These  ruins  have  every 
appearance  of  being  very  ancient.  Belzoni  found  the 
place  surrounded  by  a  high  wall  of  unburned  brick,  also 


66 


INTRODUCTION. 


the  ruins  of  tliree  or  four  temples,  and  otlier  ancient 
"buildings.  There  are  grottos,  about  a  mile  from  the 
river,  in  the  mountains,  which  are  really  sepulchres,  and 
the  sculptures  and  paintings  on  the  walls  are  more  im- 
portant, in  some  respects,  than  those  at  Thebes,  as  the  or- 
naments of  the  latter  are  principally  conj&ned  to  the  high- 
er ceremonies  of  religion,  while  those  of  the  former  refer 
to  the  pursuits  and  habits  of  the  Egyptians  in  private 
life."^  In  the  largest  of  the  grottos  is  a  wall  upon  which 
is  represented  a  feast,  enlivened  by  musicians  and  dancers. 
One  female  is  playing  on  a  harp,  another  on  a  double 
flute  and  three  others  are  dancing  in  the  same  manner  as 
do  the  Almeh  at  Cairo.  Those  who  amuse  the  rich  are 
a  different  class  from  those  who  exhibit  to  the  multitude. 
The  latter  are  probably  the  Gasie  of  whom  Xiebuhr 
speaks. 

The  temple  of  Tentyra  now  called  Denderah  is  on  the 
left  bank  of  the  Xile,  eighteen  miles  north  of  Thebes. 
Belzoni  supposes  it  to  have  been  erected  in  the  time  of 
the  first  Ptolemy.  There  are  strong  reasons  for  believing 
that  this  temple  and  those  of  Philge  and  Edfou  were  built 
by  the  Ptolemies,  though  some,  as  Dupuis  and  JoUois, 
maintain  that  they  are  much  more  ancient.  The  archi- 
tects probably  followed  the  ancient  manner  of  building. 
Deuon  and  Belzoni  speak  in  the  most  enthusiastic  terms 
of  the  elegance  apparent  in  the  temple  of  Denderah. 

The  pyramids  of  Ilemjyhis^  as  far  as  we  can  learn  from 

^  Yid.  Kussell's  Yiew,  p.  190,  as  quoted  by  0.  A.  Taylor,  in 
an  article  on  musical  instruments  of  the  ancient  Egyptians,  in 
the  Biblical  Repository,  vol.  ix,  No.  26,  from  which  we  have 
derived  much  valuable  information  in  the  preparation  of  that 
part  of  this  Introduction  which  relates  to  Egyptian  music. 


THE  KDTNS  OF  MEMPHIS  AXD  THEBES.  67 

history  and  tradition,  were  very  ancient,  though  their  exact 
antiquity  is  not  known.  The  Mausoleums  or  tombs  near 
the  pyramids  also,  are  supposed  to  be  of  equal  or  even 
greater  antiquity  than  the  pyramids.  Both  are  so  ancient 
that  we  may  safely  regard  their  representations  to  a  cer- 
tain extent,  as  a  true  exhibition  of  the  state  of  the  arts 
and  sciences  in  the  earliest  ages.  The  inscriptions  on 
these  tombs  are  numerous.  Abdallotipli  informs  ns  that 
he  saw  as  many  as  would  fill  ten  thousand  volumes,  and 
others  have  nsed  equally  strong  language.  Some  of  the 
sculptures  represent  musical  instruments.  On  the  ruins 
of  one  of  the  tombs,  there  is  a  representation  of  a  band 
of  musicians,  playing  on  the  flute,  harp,  and  a  kind  of 
clarionet,  accompanied  by  dancing  women,  tinged  with 
yellow. 

The  celebrated  ruins  of  Tliehes  include  those  of  Luxor 
and  Carnac  on  the  eastern  bank  of  the  JSTile,  Gornou,  Bi- 
ban  el-Molauk,  Medinet-Abu,  and  the  Memnonium  on 
the  west,  extending  about  nine  miles  in  length  along  the 
Kile,  and  back  to  the  mountains  on  the  east  and  west, 
about  eight  miles  in  breadth.  Dr.  Pococke  remarks  con- 
cerning Thebes,  that  "  the  date  of  its  destruction  is  older 
than  foundation  of  other  cities.  The  N"ecropolis  (city 
of  the  dead)  called  by  the  Savans,  Thebes  Hypogees 
(^^^a»  'T^ro/siai,  the  subterranean  Thebes),  stands  not  far 
distant  and  contains  splendid  ruins  which  are  probably 
as  ancient  as  those  of  Thebes  proper.  From  them  many 
of  the  most  important  sketches  of  musical  instruments 
have  been  taken.  The  three  grand  classes  are  painted 
and  sculptured  both  on  the  ruins  of  Thebes  and  tlie  Ne- 
cropolis, under  such  circumstances  as  to  induce  scholars 
who  have  examined  them  to  feel  confident  that  they  are 


68 


INTRODrCTION. 


of  the  highest  antiquity,  and  that  the  forms^  which  the 
musical  instruments  of  the  Egyptians  had  during  a  space 
of  several  thousand  years,  have  been  in  their  essential 
characteristics  handed  down  to  the  present  time.  They 
painted  in  fadeless  colors  and  sculptured  in  solid  granite 
or  marble  in  and  around  their  tombs  in  such  a  manner 
that  it  was  impossible  to  erase  the  inscri2)tions.  Thus 
the  historical  achievements,  arts,  sciences,  habits  and  man- 
ners of  the  people  were  accurately  handed  down  to  mod- 
ern times.  This  fact  has  doubtless,  contributed  much  to- 
wards making  oriental  society  so  uniform  and  unchange- 
able as  it  is.  If  what  we  have  said  be  correct,  the  forms 
of  musical  instruments  painted  and  sculptured  on  the 
more  modern  temples  of  Egypt,  may  be  sately  considered 
as  substantially  the  ancient  ones.  M.  Yilloteau  presents 
numerous  drawings  of  percussion  and  wind  instruments, 
such  as  sistra,  adufes  or  tambourines,  and  cymbals  or  casta- 
nets, trumpets  and  pipes.  In  carefully  examining  the 
numerous  engravings  of  that  Savan  we  did  not  discover 
the  pipe  of  Pan.  Mr.  Taylor  informs  us  that  he  did  not  find 
that  ancient  instrument.  The  adufe,  cymbals  or  castanets 
and  trumpets  are  the  same  in  respect  to  variety  and  form  as 
those  which  have  always  been  used  in  the  East.  There 
are  different  sizes  of  the  sistrum  and  it  is  variously  orna- 
mented. The  flutes  or  pipes  are  single  or  double,  straight 
or  crooked.  Yilloteau  represents  some  drawings  in  which 
all  of  the  above  mentioned  and  stringed  instruments  are 
found  in  concert.  In  his  fictitious  entertainments,  the 
Egyptian  guitar,  and  in  most  of  the  plates,  the  harp,  may 
be  seen.  Stringed  instruments  are  so  numerous  and  va- 
ried in  their  construction,  that  passages  in  which  there 
are  references  to  them,  are  difficult  to  be  explained. 


ANCIENT  EGYPTIAN  MUSIC. 


69 


Yilloteau  thinks  it  necessary  to  suppose  that  the  many 
names  of  aiicient  instruments  indicated  those  differino;  in 
their  grand  characteristics,  and  that  very  few  of  them 
were  exactly  alike.  It  is  altogether  probable  that  several 
names  often  denoted  the  same  instrument,  a  little  varied 
in  the  number  of  strings,  in  the  form,  or  in  some  other 
way,  from  others  of  the  same  kind,  like  our  different  va- 
rieties of  the  flute,  viol,  etc.  The  same  was  doubtless 
true  in  respect  to  the  Hebrews.  Accordingly  in  some 
instances,  several  Hebrew  words  probably  refer  to  the 
same  general  instrument  a  little  varied  in  some  peculi- 
arity. They  must  be  reduced  to  their  respective  classes, 
such  as  pipe,  flute,  viol,  etc.  Hie  f on/is  of  a  great  vari- 
ety of  instruments  are  sculptured  on  Egyptian  ruins  ;  but 
we  can  learn  verv  little  concernino-  them  from  the  ancieut 
la7iguajge  of  that  country,  as  we  have  but  a  few  fragments 
of  it  preserved. 

From  this  brief  general  view  of  music  among  the  an- 
cient Egyptians,  we  think  that  they  must  have  cul- 
tivated the  art  nearly  2000  years  B.  C.  and  perhaps  ear- 
lier. The  Hebrews,  as  we  have  already  intimated,  were 
doubtless  much  influenced,  while  in  captivity,  by  the 
Egyptians,  in  respect  to  music  as  well  as  in  reference  to 
the  arts  and  sciences  generally. 

"We  must  next  inquire  whetlier  the  Hebrews  were  prob- 
ably acquainted  with  music  to  any  considerable  extent  be- 
fore they  were  led  into  captivity  in  Egypt.  That  event  oc- 
curred about  1921 B.  C.  Abram  is  considered  as  the  father 
of  the  Israelites,  being  the  son  of  Terah  a  resident  of  Ur 
in  Chaldsea.  From  Gen.  xi.  27 — 32,  we  learn  that  Ab- 
ram, with  his  father  and  others  set  out  to  go  into  the 
xand  of  Canaan  ;  but  they  tarried  at  Haran  in  Mesopota- 


70 


ESTTEODUCTION. 


mia.  This  must  liave  been  wlien  Abram  was  quite 
youDg.  He  was  born  about  1996  B.  C,  or  353  after  the 
deluge,  and  a  few  years  afterwards,  perhaps  25  or  30,  he 
went  to  Haran.  At  the  age  of  Y5  (Gen.  xii.  4)  or  428 
years  after  the  deluge,  he  left  Haran  and  entered  the  land 
of  Canaan.  We  learn  from  Gen.  xv.  18,  that  the  land  of 
Canaan  which  God  gave  to  Abram  and  his  posterity,  ex- 
tended from  the  river  of  Egypt  to  the  Euphrates.  Those 
possessions  must  have  reached  at  least  to  the  borders  of 
Chaldsea  and  Babylonia.  Thus  the  patriarch  had  an  op- 
portunity to  become  acquainted  with  music,  and  the  other 
arts  and  sciences  of  those  ancient  monarchies.  It  is  prob- 
able even  that,  through  the  descendants  of  Noah,  he  ob- 
tained some  knowledge,  as  we  have  before  intimated,  of 
antediluvian  music.  After  he  had  viewed  the  land  of 
Canaan,  he  went  down  into  Egypt,  and  there,  doubtless, 
learned  much  more  in  respect  to  music,  as  the  Egyptians 
had  then  probably  cultivated  the  art  for  a  long  time. 
Subsequently  Abram  returned  again  to  Canaan.  About 
1728  years  B.  C.  or  621  after  the  deluge,  Joseph  was  sold 
into  Egypt.  That  must  have  been  300  or  400  years  after  the 
first  monarchy  was  established  in  Egypt,  and  the  Egyp- 
tians undoubtedly  had  cultivated  the  art  of  music  during 
several  centuries.  Joseph  was  favored  by  Pharaoh,  and 
finally  the  Israelites  removed  from  Canaan  and  fixed  their 
abode  in  Egypt ;  but  they  were  soon  reduced  to  bondage 
and  remained  in  servitude  430  years  (Ex.  xii.  40).  After 
wandering  forty  years  in  the  wilderness,  they  returned 
again  to  Canaan  about  1451  B.  C*  They  remained  there 
about  864  years  until  587  B.  C.  when  they  were  carried 

*  It  was  in  Egypt  that  the  Hebrews,  while  in  the  midst  of 
another  people,  first  really  grew  up  into  a  nation. 


EGYPTiAK  ivnrsic. 


n 


captive  into  Babylon  by  ^Nebuchadnezzar.  They  were 
there  in  bondage  TO  years,  at  the  end  of  which  they  re- 
turned again  to  the  land  of  Canaan,  which  was  then  called 
Palestine. 

From  these  considerations,  it  is  reasonable  to  conclude 
that  the  Jews  obtained  much  of  their  knowledge  of  mu- 
sic from  the  Egyptians,  having  resided  so  many  years 
among  them,  though  doubtless  Abram  had  a  knowledge 
of  not  only  the  antedihivian,  but  Babylonian  and  Chal- 
dsean  music  before  he  visited  Egypt.  How  far  he  adop- 
ted the  views  of  the  Egyptians  in  respect  to  music,  before 
he  imparted  his  knowledge  to  the  Jewish  nation,  cannot 
now  be  ascertained  ;  but  it  is  reasonable  to  suppose  that 
the  knowledge  which  he  obtained  among  that  people,  and 
that  which  those,  who  were  in  bondage,  obtained,  much 
influenced  the  Hebrews  in  respect  to  music  and  the  va- 
rious arts  and  sciences. 

Concerning  Musical  Notation  among  the  Egyptians 
and  Hebrews  we  have  no  certain  knowledge.  Judging 
from  their  acquaintance  with  instrumental  music,  how- 
ever, Ave  think  it  highly  probable  that  symbolic  repre- 
sentations of  musical  sounds  were  known  among  them. 
The  Greeks  possess  the  most  ancient  system  of  musical 
notation  which  has  reached  our  times,  and  our  informa- 
tion even  with  regard  to  that  is  very  limited  and  uncertain. 
The  relics  which  have  been  preserved,  show  that  that 
people  must  have  been  acquainted  with  a  higher  degree 
of  cultivation  in  respect  to  practical  and  theoretical 
music  than  is  generally  supposed.  Marpurg,  Bottrigari, 
Galilei  and  others  speak  of  hymns  to  Nemesis,  Apollo 
and  Calliope,  and  attempt  an  explanation  of  the  notation 
of  the  music  set  to  them ;  but  there  is  so  much  contra- 


I 


73  INTEODTJCTION. 

idictioii  and  confusion  in  tlie  acconnt  tliat  it  is  hardly 
reliable.  The  same  is  true  in  respect  to  other  writers 
who  have  endeavored  to  ascertain  the  musical  notation 
of  the  ancient  Greeks  from  the  fragmentary  historical 
remains  upon  the  subject  which  have  reached  our  times. 
All  of  their  investigations  are  unsuccessful  and  unsatis- 
factory. When  we  go  still  farther  back  into  antiquity 
to  the  Hebrews  and  Egyptians,  an  impenetrable  darkness 
universally  prevails.  Some  Jewish  Rabbins  have  pre- 
tended that  they  have  discovered  the  true  system  of  mu- 
sical notation  among  the  ancient  Hebrews  ;  but  they  dif- 
fer materially  from  each  other  in  respect  to  its  character. 
The  Spanish,  Eoman,  Prussian  and  Dutch  Jews  all  have 
different  systems  of  musical  notation,  and  yet  each,  in 
the  estimation  of  its  advocates,  is  believed  to  be  the  true 
system  of  the  ancient  Hebrews,  thus  showing  that  no  re- 
liance can  be  placed  upon  any  of  them. 

The  Romans  obtained  their  knowledge  of  musical  no- 
tation from  the  Greeks,  and  we  are  informed  by  historians 
that  they  simplified  the  system  of  the  latter  by  employing 
the  Roman  alphabet  to  indicate  different  sounds.  We 
have  authentic  history  informing  us  that  Greek  musical 
characters  were  used  in  the  fourth  century  after  Christ. 
In  the  fifth  century  they  are  mentioned  by  Boethius  and 
Martianus  Capella  (vid.  fragments  of  their  writings  by 
Meibomius,  vols,  i  and  ii).  Ambrose,  one  of  the  Fathers,  in 
the  latter  part  of  the  fourth  century,  improved  the  rhythm 
of  church  chants.  In  the  sixth  century  Pope  Gregory  I. 
established  a  singing  school  at  Rome,  and  essentially  im- 
proved musical  notation  by  substituting  Roman  instead 
of  Greek  letters.  The  Roman  or  Gregorian  chant  was 
introduced  into  England  about  A.  D.  596  (vid.  Introd.  to 


EGYPTIAN  MUSIC. 


73 


the  Art.  Music  in  the  Enciclo.  Brittan.  by  G.  F.  Graham). 

Thus  the  j^resent  system  of  musical  notation  was  gradu- 
ally introduced. 

We  have  remarked  that  the  Egyptians  had  three  classes 
of  musical  instruments,  viz  :  wind,  stringed  and  percus- 
sion. The  Hebrews  had  the  same,  containing  a  consider- 
able variety  in  each  class,  and  especially  in  the  first  two ; 
but  these  we  shall  examine  in  om-  remarks  on  particular 
passages  of  Scripture. 
4 


MUSIC  OF  THE  BIBLE. 


THE  PENTATEUCH,  OR  FIVE  BOOKS  OF  MOSES. 

IXTRODUCTORY  REMARKS. 

The  term  in  Hebrew  for  Pentateucli  is  ip>r,p;  rir'^^H 
nn'il'  signifying,  the  five  fifths  of  the  law  ;  but  the  more  usual 
term  is  H^liTlj  ihora.,  the  law.    Single  books  were  called 

T 

tDTa^iMj  hhummashj  a  fifth  part.  The  Greek  term  is  Hevrd- 
revxog,  Pentateuchos^  Pentateuch^  from  nivre,  pente,  five,  and 
revxog,  teuchos,  an  implement.  After  the  Alexandrine  period 
it  signified  a  hook.  Many  scholars,  such  as  B.  Spinoza,  R. 
Simon,  J.  Clericus,  J.  G.  Ease,  F.  C.  Fulda,  J.  C.  jSTachti- 
gal,  J.  S.  Yater,  G.  M.  L.  De  Wette,  L.  Bertholdt,  C.  F. 
Yolney  and  Rosenmiiller  have  maintained  that  the  Penta- 
teuch was  not  written  by  Moses.  Within  a  few  years  the 
original  documents  from  which  it  was  taken  have  been 
critically  examined,  and  the  opinion  advanced,  that  they 
were  not  composed  nor  arranged  since  the  time  of  Moses 
(with  the  exception  of  what  was  done  in  Ezra's  revision) ; 
but  that  they  existed  before  his  time,  and  were  combined, 
arranged,  and  some  of  them  perhaps  translated  by  him  and 
preserved  in  the  families  of  Shem,  Abraham  and  the  He- 
brew patriarchs.    This  view  is,  however,  contested  by  a 


76 


PENTATEUCH — INTRODUCTOEY  REMARKS. 


large  number  of  the  ablest  biblical  scholars,  and  the  Mosaic 
origin  of  the  Pentateuch  strenuously  advocated,  which  view 
is  sustained  by  many  irrefragable  evidences,  and  is  undoubt- 
edly the  correct  one. 

The  object  of  Moses  in  writing  the  Pentateuch  seems  to 
have  been  the  preservation  of  the  Israelites  from  the  con- 
tamination of  surrounding  idolatry.  Indeed,  throughout 
the  Old  Testament  Scriptures^  the  two  grand  objects  which  the 
inspired  writers  seem  to  have  kept  continually  in  view,  were 
to  turn  men  from  idolatry  in  all  its  forms  of  vice  and  error, 
and,  by  the  gradual  development  of  the  scheme  of  prophecy 
to  direct  their  attention  to  the  future  Messiah.  When  the 
Pentateuch  was  prepared,  the  world  was  absorbed  in  the 
grossest  forms  of  Pagan  superstition,  originating  principally 
in  neglect,  perversion  or  misapprehension  of  certain  truths, 
once  universally  known.  Hence,  Moses  commences  his 
narrative  by  an  allusion  to  those  alarming  considerations. 
Little  is  related  which  will  enable  us  to  judge  of  the  man- 
ners and  customs  of  the  antediluvians.  It  is  shown,  how- 
ever, that  there  were  godly  and  wicked  men,  and  that  the 
latter  so  prevailed  over  the  former  that  they  were  reduced 
to  one  family,  and  that  the  remainder  of  the  human  race 
were  destroyed  in  order  that  holiness  might  not  be  entirely 
effaced  from  the  earth. 

There  are  but  few  allusions  to  music  in  the  Pentateuch, 
still  there  are  sufficient  to  show  that  the  art  was  cultivated, 
to  some  extent,  even  before  the  deluge. 


GENESIS — INTKODUCTOKY  REMARKS. 


77 


GENESIS,  OR  THE  FIRST  BOOK  OF  MOSES. 

INTRODUCTORY  REMARKS. 

This  book  in  Hebrew  is  called  ^n^tp^t^^S'  h'resh'ith,  signi- 
fying, in  the  beginning ;  but  in  the  Greek  Teveaig  Genesis, 
signifying,  generation^  production.  Thus  the  Hebrews  de- 
rived the  name  of  the  book  from  its  initiatory  expression 
and  the  Greeks  from  its  contents.  Its  object  seems  to  have 
been  to  present  a  view  of  the  origin  of  all  things.  It  gives 
an  account  of  the  creation,  primeval  state  and  fall^  of  man, 
the  history  of  Adam  and  his  descendants,  the  progress  of 
religion  and  origin  of  the  arts,  the  genealogies,  age  and 
death  of  the  patriarchs,  until  the  time  of  Noah,  the  general 
defection  and  corruption  of  mankind,  the  deluge,  preserva- 
tion of  IS'oah  and  his  family  in  the  ark,  his  history  and  that 
of  his  descendants  after  the  deluge,  resettlement  and  divi- 
sion of  the  earth  among  his  sons,  the  building  of  Babel,  the 
confusion  of  tongues  and  dispersion  of  mankind,  and  the  lives 
of  Abraham,  Isaac,  Jacob  and  Joseph.  It  was  probably 
written  by  Moses  after  the  departure  of  the  Israelites  from 
Egypt  and  the  promulgation  of  the  law,  though  opposite 
views  have  been  advocated.  The  narrative  embraces,  ac- 
cording to  the  usual  chronology,  2369  years  from  the  crea- 
tion to  the  death  of  Joseph,  which  occurred  about  1635 
years  before  the  Christian  era,  and  714  after  the  deluge. 
This  is  the  lowest  computation.  Dr.  Hales  makes  the  book 
comprehend  a  much  longer  period. 

Genesis  contains  a  few  passages  which  refer  to  music, 
showing  that  the  art  was  understood  in  very  early  times. 
There  are  references  to  vocal  as  well  as  instrumental  music ; 
but  it  was  probably  rude  like  those  who  practised  it. 


Y8 


ORIGIN  OF  MUSIC — JUBAL. 


Genesis,  iv.  21. 

And  his  brother's  name  was  Jubsil:  he  was  the. 
father  of  all  such  as  handle  the  harp  and  organ. 

JuiBAL  was  the  first  musician  of  whom  we  have  any  credible 
account,  and  he  is  only  mentioned  in  the  sacred  Scriptures,  as  re- 
liable profane  history  does  not  extend  so  far  back  into  antiquity. 
He  lived  very  soon  after  the  earth  first  began  to  be  inhabited. 
Adam  was  only  130  years  old  when  Seth,  his  third  son,  was  born, 
and  it  seems  to  have  been  before  this  time  that  Jubal  appeared 
(Gen.  V.  3  ;  iv.  1-25).  We  know  not  his  age  when  he  began  to  cul- 
tivate music ;  but,  supposing  it  to  have  been  30  years,  that  would 
be  about  160  years  after  Adam  appeared  on  the  earth,  and 
nearly  1500  years  before  the  deluge.  This  carries  us  back  to  a 
period  so  early  that  we  need  not  look  farther  for  the  inventor  of 
the  first  instruments  of  music.  Only  twelve  individuals  are  men- 
tioned as  having  lived  before  Jubal,  though  there  may  have  been 
others.  Dr.  Jahn,  in  his  Archaeology,  observes  that  J ubal  was 
the  first  person  who  noticed  that  strings  of  different  lengths  or 
sizes,  when  stretched,  will  produce  various  sounds,  and  thus  in- 
vented stringed  instruments ;  that  he  first  caused  the  pipe  or  fife 
to  emit  a  pleasant  sound,  and  the  horn,  perhaps,  to  utter  sweet 
and  various  music.  It  is  generally  believed  that  vocal  preceded 
instrumental  music,  and  we  may,  with  a  sufficient  degree  of  cer- 
tainty, conclude  that  Jubal  was  the  first  musician,  as  he  must 
have  been,  in  all  probability,  the  first  who  practised  both.  Moses 
informs  us  that  "he  was  the  father  of  all  such  as  handle  the  harp 
and  organ,"  intimating  that  he  was  the  inventor  of  these  two  in- 
struments, and  that  others  handled,  or  performed  upon  them, 
having  been,  perhaps,  instructed  by  him. 

In  Gen.  iv.  21,  Jubal  is  said  to  be  the  father  of  all  such  as  handle 
the  harp  and  organ.  It  would  seem  by  the  expression,  all  suchj 
that,  at  that  remote  period,  many  played  on  those  instruments. 
During  Jubal's  life,  supposing  it  to  have  been  as  long  as  that  of 


GENESIS,  IV.  21. 


79 


his  cotemporaries,  the  number  of  the  human  family  must  have 
largely  increased,  and  he  may  have  instructed  many  to  perform 
on  the  instruments  which  he  had  invented. 

That  Jubal  was  the  inventor  of  those  instruments  is  farther 
confirmed  by  the  common  opinion  of  the  oriental  nations.  Char- 
din  (Voyages  en  Perse  T.  v.  p.  69)  informs  us  that  the  Persians 
and  Arabians  call  musicians  and  singers  Kayne^  descendants  of 
Cain.  Plato  pretends  that  all  traces  of  ancient  music  were  lost 
by  the  deluge,  and  that,  after  that  event,  the  art  was  again  culti- 
vated by  the  instrumentality  of  Marsyas,  Olympus  and  Am- 
phion  (Lib.  iii.  de  Legibus,  p.  584) ;  but  he  felt  obliged  to  write 
thus  in  accordance  with  received  traditions.  In  no  other  way 
could  he  do  honor  to  the  authors  just  named. 

It  is  probable  that  many  of  the  antediluvian  ideas  in  respect 
to  music  were  partially  lost,  so  that  the  people  of  each  natioB, 
after  the  deluge,  were  obliged  to  search  anew  for  the  origin  of 
music.  Thus  the  various  inventions  and  improvements  which 
may  have  existed  before  the  deluge  would  have  to  be  made  the 
second  time.  Even  searching  out  what  really  existed  in  the 
most  ancient  times,  would,  among  the  first  nations  after  the 
deluge,  have  the  honor,  in  many  cases,  of  being  new  discoveries. 
Sulzer  asserts,  that  every  nation  may  lay  claim  to  have  discov- 
ered its  own  kind  of  music  (Theorie,  B.  ii.  p.  791). 

place  where  the  art  was  first  cultivated  was  probably  not  far 
from  the  Garden  of  Eden,  and  that  sacred  place  is  generally  sup- 
posed to  have  been  near  where  Bassora  now  stands — a  little  be- 
low the  junction  of  the  river  Tigris  with  the  Euphrates  in  Turkey 
in  Asia,  and  very  near  Arabia.  Cain  resided  in  the  land  of  Nod 
east  of  Eden  (Gen.  iv.  IG).  Jubal  was  his  sixth  descendant, 
and  probably  lived  in  the  same  place,  or  not  far  distant,  though 
Moses  does  not  mention  the  fact.  In  the  time  of  Jubal,  prob- 
ably, the  human  race  had  not  extended  very  far  around  Eden. 

It  is  quite  evident,  from  ancient  inscriptions  upon  monuments, 
that  music  was  cultivated  in  Egypt,  as  we  have  intimated  in  the 
introduction,  about  350  years  after  the  deluge,  making,  between 
the  time  of  Jubal's  and  the  first  Egyptian  music,  about  1850 


80 


MUSIC  OF  THE  BIBLE — JUBAL. 


years.  The  places  (Egypt  and  that  part  of  Turkey  in  Asia 
where  stood  the  Garden  of  Eden)  have  Arabia  between  them. 
Or,  if  music  was  cultivated  in  India  and  Babylonia  about  fifty 
years  after  the  deluge,  as  is  quite  probable,  there  would  inter- 
vene, between  Jubal's  and  the  first  Indian  and  Babylonian  music, 
about  1600  years,  and  Babylonia  included  the  Garden  of  Eden. 
A  part  of  India,  considered  in  its  widest  extent,  was  not  for  dis- 
tant. Between  the  time  of  Jubal's  music  and  that  of  Haran 
(Gen.  xxxi.  27)  there  is  an  interval  of  about  2150  years,  and  the 
places  were  not  distant  from  each  other. 

Jubal  is  said  to  be  "the  father  of  all  such  as  handle  the  harp 
and  organ."  The  Hebrew  word  for  handle  is  'j^Sjri,  tophes^  a 
participle  of  the  verb  fcS^,  tajjhas,  to  lay  hold  of^  to  handle. 
The  signification  of  the  participle  is  handling  or  playing  upon. 
TTie  Septuagint  uses  naradei^ag,  kaiadeixas,  showing,  teaching. 
This  seems  to  indicate  that  the  LXX  regarded  Jubal  as  the  father 
of  all  who  taught  to  play  on  the  harp  and  organ,  as  well  as  the 
father  of  those  who  performed  upon  those  instruments.  We  have 
shown  that  it  could  not  have  been,  in  all  probability,  more  than 
about  160  years  after  Adam's  creation  when  Jubal  practised 
music.  If,  then,  there  was  teaching  of  music,  as  the  LXX  seem 
to  have  thought,  Jubal  must  have  become  acquainted  with  the 
art  when  very  young,  as  he  must  have  been  the  teacher  of  those 
instructors. 

This  idea  suggested  by  the  Septuagint  would  only  have  a  ten- 
dency to  carry  the  origin  of  the  art  back  a  little  farther  into  an- 
tiquity. 

Harp. — The  Hebrew  word  is  '^iSS?  ^'innor,  which  evidently 
represents  a  stringed  instrument;  but  before  considering  that 
term,  it  will  be  necessary  to  present  a  brief  general  view  of  the 
whole  class  to  which  the  instrument  here  indicated  belongs. 

The  general  term  in  Hebrew  denoting  stringed  instruments  is 
N'g'inoth.    It  is  found  in  the  superscription  to  several 

of  the  Psalms,  and  signifies  a  stringed  instrument  of  music,  music 
on  a  stringed  instrument,  or  a  song  for  a  stringed  instrument. 


GENESIS,  IV.  21. 


81 


It  is  derived  from  ^^i^  nagan^  to  lAay  on  a  stringed  instrument. 

The  Hebrews  had,  according  to  Dr.  Jahn,  four  kinds,  viz. :  the 
cithara,  nebliel,  sambuke,  and  psaltery.  There  were  some  varia- 
tions from  these,  but  none  sufficient,  in  his  view,  to  constitute  a 
distinct  instrument. 

Villoteau  informs  us,  as  we  have  already  intimated,  that  upon 
the  ruins  of  Egypt  are  to  be  found  sculptured  three  principal 
kinds  of  stringed  instruments,  viz.  :  harj^s,  lyres,  and  guitars. 
There  are  many  other  kinds,  but  they  appear  to  be  improvements 
upon,  or  modifications  of  these  three.  The  general  name  for 
stringed  instruments,  among  the  Egyptians,  was  tebouni  (re 
Qovvl).  Jablonski,  who  is  Villoteau's  authority,  remarks  that 
the  term  denotes  a  musical  instrument  of  the  ancient  Egyptians, 
which  was  mentioned  by  one  Joseppus  or  Josephus,  a  writer  of 
uncertain  age,  by  some  supposed  to  be  of  the  fifth  century,  but 
by  others  of  a  much  later  date.  Josephus  quotes  from  Porphyry, 
and  has,  for  the  term,  to  (ivvL,  to  buni  (Por.  Lib.  v.  c.  144). 
Thomas  Gale  found  the  same  orthography  in  a  Cambridge  manu- 
script ;  but  he  maintains  that  it  should  be  written  re  [Sovvl,  te 
houni.  Fabricius,  who  first  brought  Josephus'  works  to  light, 
has  for  this  term  in  the  Greek  text  to  (3ovt,  to  boni ;  but  in  the 
Latin  bu?ii.  Jablonski  remarks  that  the  term  should  form 
but  one  word,  thus :  TefiovvL,  tebouni.  He  thinks  it  probable, 
from  Josephus'  quotation,  that  the  term  is  of  Egyptian  origin, 
and  should  be  referred  to  the  Coptic  dialect.  There  it  is  writ- 
ten thus :  "^"D^CUSnS  .  ^^^i-  ^"^j  the  Septuagint  has 
Ki-&apag,  kitharas,  and  the  Coptic  translator  D^tUSnS ,  and, 
in  Rev.  xiv.  2,  a  harper  is  called  p^lJ^Fp  TOUl^HS .  From 

the  fact  that  the  Greek  letters  v,  u,  and  ov,  on,  are  often  inter- 
changed with  (3,  b,  as  in  the  word  Remoboth,  perhaps  the 
writer  was  authorized  to  employ  the  Greek  term  re  (3ovvc  for 

^TOtUSSl5.  Remoboth  was  used  by  Jerome  to  express 
Egyptian  monks,  which  in  Coptic  is  p'EJUL'D^CUT,  Jablonski 


82 


EGYPTIAN  STEIXGED  IXSTRUMENTS. 


had  conversation  at  Paris  with  Montfaugon,  -vvho  agreed  with 
him  in  respect  to  the  orthography  of  the  word.  La  Croze,  in  a 
letter  to  Jablonski,  also  approves  of  this  view.  The  latter  says 
of  the  former,  "  who  informed  me  by  letter  in  the  year  1735, 
that  he  very  much  approved  of  my  observation  respecting 
J  ^^^^  considered  it  one  to  which  nothing  could  be 
opposed."  The  musical  instrument  denoted  by  that  term  is 
similarly  described  by  Jablonski  and  Villoteau,  excepting  what 
the  former  says  of  the  plectrum.  Jablonski  ranks  the  instru- 
ment with  the  oajijivnr]^  sambulce  of  Suidas,  the  Tpiyc^vov,  tri- 
gonon^  described  by  Hesychius,  and  the  izavdovpa,  2^'^f^^(^oura, 
mentioned  by  Martianus  Capella,  in  his  work  Denuptiis  Philolog. 
et  Mercur.  ed.  Grot.  p.  313,  where  Harmonia  is  made  to  say: 
"  Panduram  ^Egyptios  attentare  permisi." 

All  these  terms  seem  to  indicate  instruments  of  the  same  gen- 
eral form  and  somewhat  triangular.  Most  instruments  of  the 
harp  kind  described  by  Villoteau,  in  his  Antiquities  of  Egypt, 
are  of  a  similar  form.  From  these  considerations,  Te/3oi;vt,  te- 
houni  is  considered  as  a  general  term  to  indicate  Egyptian 
stringed  instruments  of  the  harp  kind,  and  particularly  those  of 
the  triangular  form.  It  is  probable  that  the  term  had  as  exten- 
sive a  signification  as  the  Greek  cithara,  or  perhaps  as  the  He- 
brew kinnor.  The  plectrum,  indicating  the  particular  manner 
of  playing  on  the  instrument,  does  not  affect  the  question.  We 
find  in  the  drawings  upon  the  ruins  of  Egypt  by  the  savans  of 
Napoleon  and  others,  as  we  have  already  intimated,  tehouni  of 
three  kinds  or  species,  in  accordance  with  what  Villoteau  re- 
marks upon  the  subject,  though  it  is  possible  that  he  may  haye 
given  a  meaning  to  the  term  rather  too  extensive,  and  we  might 
expect  to  find  other  general  terms  for  instruments  of  music  in 
the  ancient  Egyptian  language. 

I.  Stringed  instruments  of  the  harp  kind  are  far  the  most  nu- 
merous in  the  drawings  of  the  savans,  exhibiting  a  great  variety 
of  forms^  though  evidently  derived  originally  from  the  same  pat- 
tern. In  its  most  simple  form,  the  harp  was  a  plain  unorna- 
mented  section  of  a  circle,  varying  more  or  less  in  curvature. 


GENESIS,  IV.  21. 


83 


Finally  it  took  nearly  the  form  of  a  triangle,  like  the  modern 
harp,  with  the  front-piece  wanting.  It  is  probable  that  this  was 
the  grand  original  of  all  stringed  instruments,  the  lyre  and  guitar, 
with  all  their  varieties,  having  originated  from  it,  though  some 
suppose  the  lyre  and  others  the  guitar  to  have  been  the  most  an- 
cient. The  strings  of  the  harp  number  from  two  or  three  to  more 
than  thirty,  which  appear  to  be  fastened  near  the  top  by  pegs  in 
the  sides.  Sometimes  the  instrument  was  so  large  as  to  be  high- 
er than  the  head  of  the  performer,  and  sometimes  not  more  than 
half  or  two-thirds  as  high  as  an  adult.  In  the  drawings  of  the 
savans  it  usually  stands  nearly  in  front  of  the  performer,  or 
against  the  right  or  left  shoulder,  and  is  played  with  the  fingers. 
A  plectrum,  according  to  Yilloteau,  is  nowhere  to  be  found  in 
the  ruins  of  Egypt.  In  the  Antiquities,  Plane.  Tom.  i.  pi.  70, 
No.  2,  El  Kab,  or  Elethyia,  there  is  a  representation  of  a  mu- 
sical entertainment  in  connection  with  a 
double  flute. 

Here  is  a  harp,  taken  from  Villoteau,  of 
an  oblong,  circular  form,  leaving  an  ellipti- 
cal bend  in  the  centre,  gradually  swelling 
from  the  top  to  the  bottom,  has  ten  strings, 
and  no  ornaments.  It  is  pretty  accurately 
represented  in  the  accompanying  cut  (Fig. 
V),  and  is  played  on  by  a  female  standing 
erect,  having  the  harp  nearly  opposite  her 

Fig.  VI. 


Ancient  Egyptian  Harp. 


Ancient  Egyptian  Harps: 


84 


ANCIENT  EGYPTIAN  HARPS. 


Fig.  VII. 


left  shoulder  and  extending  from  the  ground  to  some  distance  above 
her  head.    No.  1,  of  the  group  Fig.  VI.  on  p.  83  is  a  similar  one. 

The  following  (Fig.  VII.)  is  another,  which  is  somewhat  simi- 
lar, taken  from  the  Anti.  Plane.  Tom.  ii.  pi.  44,  No.  6,  Thebes 
Hypogees.  It  is,  however,  much  more  highly  finished,  and 
represents  an  instrument  of  later  origin.  It  is  carved,  is  much 
larger  towards  the  lower  part,  and  rests  on  a  foot  ornamented 
with  a  hawk's  head.  The  instrument  resembles  that  usually  put 
into  the  hands  of  David  excepting  that  the  front  piece  is  wanting.  It 

has  twenty-one  strings.  Some  of 
the  instruments  are  nearly  com- 
posed of  the  two  sides  of  a  trian- 
gle, and  sometimes  the  segment 
of  an  ellipse.  In  both  cases  the 
back  part  is  gradually  swelled 
and  curved  as  it  descends  to  form 
the  belly  or  chest,  and  the  base. 
It  is  rather  triangular  than  cir- 
cular and  the  performer  kneels. 
Harps  resembling  the  above  are. 
found  in  (I)  Ant.  Plane.  Tom.  V. 
pi.  17,  etc.  Number  1  contains 
something  like  a  musical  con- 
cert. The  harp,  in  that  case,  is 
a  segment  of  a  circle,  all  the 
way  of  a  size,  and  has  six 
strings.  It  was  taken  from  the 
tomb  east  of  the  second  of  the 
Pyramids  of  Memphis.  The 
The  harp  stands  on  the  ground, 


Ancient  Thehan  Harp. 


female  who  is  playing  kneels, 
and  leans  against  her  shoulder. 

No's  1,  2,  3  and  4  of  the  group  Fig.  VI,  are  similar  instruments. 

In  the  fictitious  musical  concert  named  above  there  are  three 
harps.  Each  is  formed  of  an  arc  of  a  circle,  has  four  strings, 
and  is  carried  with  the  end  in  the  left  hand,  supported  against 
the  shoulder,  and  played  with  the  right  hand. 


GENESIS,  IV.  21. 


85 


Fig.  YIII. 


The  following,  (Fig.  VIII)  is  fancifully 
ornamented,  being  composed  of  a  serpent 
with  his  head  at  the  top,  while  his  tail 
rests  upon  a  hare  with  his  long  ears  turned 
back.  The  top  is  ornamented  by  a  human 
head.  A  drawing  of  it  is  found  in  Rees' 
Cyclopedia,  also  in  the  Comprehensive 
Com.  under  Gen.  iv.  21,  as  well  as  in 
Villoteau.  It  was  first  taken,  with  other 
instruments,  by  M.  St.  Non, 

The  following  (Fig.  IX)  is  found  in  Vil- 
loteau, also  in  Rees,  pi.  3.  Fig.  10. 

It  is  semi-circular,  stands  on  a  pedestal 
is  played  by  a  female  standing  erect.  It 
is  plain,  and  has  but  eight  strings.  The 
female's  head  is  ornamented  with  stocks  ^Vi/i>- 
and  flowers  of  the  lotus. 

In  Fig.  X.  are  represented  three 
similar  ones. 


Fig.  IX. 


Fig.  X. 


Ancient  Harp  and  the  manner 
of  performing  upon  it. 


Tlieban  bow-shaped  Harps. 


There  are  many  other  harps  pre- 
sented by  Villoteau  of  essentially 
the  same  form,  their  number  of  strings 
varying  from  three  to  more  than 
thirty.  Some  of  the  most  simple 
are  extremely  ancient,  and  probably 
the  most  ancient  of  all  stringed  instru- 
ments.    Such  are  those  with  three 


86 


ANCIENT  EGYPTIAN  HARPS. 


Fig.  xr. 


strings,  a  drawing  of  one  of  which  (Fig.  XI)  we  will  now  pre- 
sent from  Dr.  Jahn's  Archa3ology.  It  is  taken  from  Analibus 
Syrioe^  sports  pictured  on  two  coins  of  the  Makkabees.  Tab. 
xviii.  Nor.  XIX,  and  of  Jahn's  V.  Kupfertafel  Nro.  VI. 

The  strings  are  tightened 
upon  a  sounding  board,  which  is 
perhaps  oval,  as  is  now  the  case, 
with  most  instruments  of  this 
class  in  the  East  (Niebuhr 
Reisel.  i.  s.  177). 

Cithara  vnth  three  Strings.  Tile  following    (Fig.  XII),  Is 

another  from  the  same  source  with  eight  strings. 

Jahn  would 
have  each  of  these 
represent  the  He- 
brew kinnor,  and 
Greek  cithara. 
Figs.  XI  and  XII 
seem  to  be  quite 
similar  in  form  to 
the  lyre,  and  some 

suppose  them  to  belong  to  that  class  of  instruments. 

Fig.  XIII  is  a  harp  with  sixteen 
strings  found  at  Herculaneum,  which 
has  laid  buried  beneath  the  ruins  since 
A.  D.  79. 

We  will  close  our  illustrations  of 
this  class  of  stringed  instruments  by 
presenting  the  two  following  grand 
Egyptian  Harps  (Fig.  XIV)  highly 
ornamented.  One  has  ten  and  the 
other  twenty-one  strings. 

II.  The  Tehouni,  or  stringed  instru- 
ments of  the  second  class,  according 
to  Villoteau,  are  in  the  form  of  the 
lyre.    Says  he,  "  we  have  discovered 


Cithara  with  eight  Strings. 


Fig.  XIII 


Ancient  Harp  from  the  rwins  of 
Herculaneum. 


GENESIS,  IV.  21. 


87 


instruments  of  this  kind  in  but  two  places  in  the  temple 
of  Denderah."  The  first,  he  informs  us,  had  four  strings 
and    the   second  three,    and  that   they  resembled   the  con- 


stellation of  the  same  name.  He  remarks  that  it  is  the  instru- 
ment which  Diodorus  Siculus  described  in  his  Universal  History, 
and  Homer  in  his  hymn  to  Mercury,  and  that  it  is  now  common 
in  x\frica  and  called  Kussir. 

Diodorus  Siculus  inakes  Hermes  (one  of  the  councillors  of 
Osiris  in  Egypt),  the  inventor  of  the  Lyre,  furnishing  it  with 
three  strings  which  produce  three  sounds,  the  grave,  mean  and 
acute,  representing  the  seasons.  The  grave  sound  indicated 
winter,  the  mean,  spring,  and  the  acute,  summer.  It  is  a  well 
authenticated  fact,  that  not  only  the  Egyptians,  but  the  ancient 
Greeks  divided  their  year  into  no  more  than  three  seasons, 
spring,  summer,  and  winter,  which,  according  to  Hesiod,  were 
called  cjpat,  horai,  hours. 

The  same  instrument  is  found  pictured  on  maps  and  globes  of 
the  heavens.  It  has  been  found  copiously  sculptured  on  the 
monuments  of  Greece.  Passow  informs  us  that  it  had  a  deeper 
sounding  board  or  chest  than  the  cithara,  and  that,  according  to 
Lucian,  horns  proceeded  out  of  it  as  out  of  a  goat's  skull. 

What  Villoteau  says  upon  the  subject  is  correct,  though  not 
new.  Many  have  testified  to  the  same  fiicts  before  him.  Nu- 
merous traditions  preserved  in  fable,  indicate  that  this  was  one 
of  the  earliest  instruments  of  Egypt,  though  not  so  much  used 
as  in  Greece.    It  is  undoubtedly  very  ancient,  and  perhaps  was 


Grand  Egyptian  Harps. 


88 


ANCIENT  EGYPTIAN  LYRES. 


Fig.  XV. 


invented  in  Babylon  or  possibly  in  India.  A  verv  ancient 
painting  at  Beni  Hassan  in  Egypt  represents  the  arrival  of  some 
foreigners  in  that  country  who  are  supposed  to  have  been 
Joseph's  brethren.    The  following  engraving  (Fig.  XV)  exhibits 

the  variety  of  costume 
of  the  individuals  indi- 
cated. No.  1  represents 
a  person  holding  in  his 
hands  a  lyre  with  four 
strings.  From  the  sup- 
posed ancient  character 
of  the  person  holding  the 
lyre,  some  suppose  that 
instrument  to  have  been 
Jofsepics  Brethren.  mom    ancient    than  the 

harp  ;  but  it  is  not  certain  that  these  individuals  were  Joseph's 
brethren,  nor  that  they  were  persons  as  ancient  as  they.  Again, 
future  discoveries  may  reveal  the  fact  that  the  harp  was  as 
anciently  used,  and  until  we  have  more  substantial  evidence  to 
the  contrary,  we  incline  to  the  opinion  that  the  harp  ivas  the  most 
ancient  stringed  instru- 

-,    ,        .  Fig.  XVI. 

ment,  and  that  it  repre-  i 
sents  the  Hebrew  kinnor. 
The  five  following  forms 
of  the  lyre  are  taken  from 
the  ruins  in  Egypt,  viz. : 
No's  1,  2  and  3  of  Fig. 
XVI,  and  No's  1  and  2  of 
Fig.  XVII. 

III.  The  third  class  of 
Teboiini  had  the  form  of 
the  Guitar.  This  instru- 
ment resembled  the  Turk- 
ish Tamburo.  Niebuhr 
asserts  that  it  was  called 

by  the   Greeks  at   Kahi-  Ancient  Egyptian  Lyres. 


GENESIS,  IV.  21. 


89 


Fig.  XYII. 


ra  (Cairo),  Beglama  and  Tamhura.  '  The  first  is  probably  the 
Grecian,  and  the  last  the  Arabian  general  term  indicating  Gre- 
cian stringed  instruments. 
Villoteau  writes  the  word 
tombour  or  tanbour,  and  in- 
forms us  that  it  was  much 
more  rare  and  less  im- 
portant than  those  men- 
tioned above.  "  We  have 
seen  none  of  them "  he 
remarks,  "  except  in  one 
place."  This  must  have 
been  a  very  ancient  instru- 
ment.    Bumev  found  it 


Egyptian  Lyres  of  the  Leyden  Collection. 


sculptured  on  a  broken  pillar.  Villoteau  gives  a  specimen  of 
it  (Ant.  Plane.  Tom.  ii.  pi.  44,  Thebes  Hypogees  No.  6),  and 
describes  it  as  a  kind  of  mandoline  or  tanbour,  as  the  instru- 
ment is  now  called  in  Turkey.  It  has  been  frequently  seen  by 
travelers  sculptured  or  painted  in  grottos  and  other  places  in 
Egypt.  Belzoni  saw  it  in  a  mummy-pit  which  he  opened  at 
Gornou.  The  guitar  is  now  common  in  Europe  and  this  coun- 
try, but  is  evidently  of  Spanish  origin,  it  being  a  national  instru- 
ment in  that  country,  originally  derived  from  the  Moors,  and 
through  them  from  the  Eastern  nations.  The  Spaniards  be- 
lieve it  to  be  as  ancient  as  the  harp  or  lyre. 

Judging  from  the  similarity  between  the  kussir  or  tanibiira* 
and  the  harp  and  guitar^  Mr.  Taylor  supposes  the  latter  to  be  an 
improvement  upon  the  lyre  in  the  Egyptian  shape,  or  hand  form. 
Villoteau  found  hand  shaped  harps. 

The  guitar  is  seldom  found  sculptured  on  the  monuments  of 
Greece  and  Rome.  It  would  seem  that  it  has  been  common 
there  from  its  close  resemblance  to  the  modern  tambura.  The 
fact  that  it  was  not  considered  as  a  dignified  instrument,  may 
account  for  its  not  appearing  on  the  ruins  of  those  proud 


♦The  tanibura  is.  thought  by  Niebuhr  and  Pfeiffer  to  be  the  ancient  Nebli^ 


90  ANCIENT  LUTES  AND  GUITARS. 


cities.  The  circumstance  that  the  instrument  was  small  and 
had  but  few  strings,  would  indicate  that  it  was  not  much  used, 
as  the  Grecians  and  Romans  did  not  appreciate  the  means  it 
furnished  of  diminishing  the  number  of  strings.  It  was,  un- 
doubtedly, one  of  the  most  ancient  musical  instruments  of  Egypt. 

We  here  present  in  No.  1,  of  Fig.  XVIII,  a  specimen  of  an 
Egyptian  guitar;  in  No. 
2,  an  ancient  lute,  and  in 
No.  3,  an  Arabian  tanhur. 
Numbers  1,  2  and  3  of 
Fig.  XIX,  represent  Egyp- 
tian instruments  of  the  lute 
class.  Numbers  1,  2  and 
3  of  Eig.  XX,  represent 

Egyptian  stringed  instru-      Ancient  Guitar,  Lute  and  Aralian  Tanbur. 

ments  of  the  guitar  class  with  necks.* 

The  three  classes  of  stringed  instruments  which  we  have  brief- 
ly considered,  were  certainly  very  ancient.  In  the  earliest  ages 
of  Egypt,  instruments  having  the  same  general  form  as  the  harp, 

lyre  and  guitar  of  mo- 
dern times,  were  com- 
mon, as  the  discoveries 
by  various  travelers  in 
that  country  have  clear- 
ly proved.  The  ancients 
had  many  other  stringed 
instruments,  but  these 
three  classes  were  the 
principal  and  contain 
the  grand  characteristics 
of  the  several  classes 
at  the  head  of  which 
they     stand.  Having 

*  It  will  be  noticed  that,  in  the  groups  of  musical  instruments  which  we  have 
presented,  we  have,  in  several  cases,  followed  the  arrangement  of  Dr.  Kitto, 
iu  his  Cyclopeedia  of  Biblical  Literature. 


Egyptian  Lutes  with  Kecks. 


GENESIS,  IV.  21. 


91 


Fig.  XX. 


made  these  general  remarks,  we  will  now  return  to  the  particu- 
lar consideration  of  the  Hebrew  term  Jcinnor  (vid.  p.  68, 

supra).  The  usual  Greek  word  for  this  instrument  is  KLvvpa, 
kinitra,  or  KLvvvpa,  kinnura.  In  the  Septuagint  ipaXrripLov,  psal- 
terion,  psaUenj,  is  used  and  in  Gen.  xxxi.  27,  the  LXX  have  em- 
ployed KiOdpag,  kiiharas,  cithara  for  the  same  Hebrew  term,  in- 
dicating that  they  did  not  understand  accurately  what  the  Hebrew 

kianor  was,  although  it  is  very 
probable  that  they  were  native 
Egyptians  who  understood  the 
Hebrew  and  Greek  languages 
(vid.  Plorne's  Introd.  P.  i.  c,  iii. 
Sect.  iii.  §  2.  2-vol.  i.  p.  265). 
Possibly  they  did  not  know  what 
kind  of  an  instrument  it  was, 
but  believed  it  to  be  one  with 
strings  and  accordingly  represent- 
ed it  sometimes  by  a  term  signify- 
in(T  one  kind  of  a  Greek  string- 
ed  instrument  and  sometimes  by 
another.  What  is  more  probable 
Ancient  Egyptian  Guitars.  IS,  that,  in  ancient  times,  and 
even  at  the  time  when  the  Sep- 
tuagint translation  was  made,  there  was  not  much  difference  in 
this  class  of  instruments.  They  resembled  each  other  in  their 
general  characteristics,  and  the  LXX  perhaps  thought  that 
'tpaXr7]pcov,  psalterion^  psaltenj,  and  laddpa,  Jcithara^  cithara 
would  both  very  well  represent  the  general  characteristics  of  the 
Hebrew  Jcinnor.  Dr.  Jahn  supposes  that  the  term  is  properly  rep- 
resented by  the  Greek  cithara  (vid.  p.  86,  siqyra,  where  cuts 
of  two  citharas  are  given),  and  that  the  Hebrew  Jcinnor  and 
Chaldee  Ol~lil*'p  qaytJiros  have  nearly  the  same  signification. 

From  qaythros  was  probably  derived  the  Greek  Kiddpa,  JciiJiara, 
cithara.  This  last  word,  or  Kivvpa,  kim/ra,  would  best  represent 
Jcinnor^  although  there  was  a  difference  between  those  two  Greek 


92 


OEIGIN  OF  THE  ORGAN". 


instruments.  Strabo  (p.  471)  affirms  that  cithara  is  an  Asiatic 
term,  and  differs  from  kinura.  The  former  was  undoubtedly 
derived  from  the  Chaldee  language,  and  kinura  from  the  He- 
brew k'lnnor.  The  cithara^  or  harp  with  three  strings,  may  be 
considered  as  near  an  approximation  to  the  Hebrew  kinnor  as 
we  can  attain  with  our  present  knowledge.  It  is  a  species  of 
harp.  Horne  considers  it  as  a  harp,  somewhat  similar  to  the 
modern  instrument  by  that  name. 

We  are  not  to  suppose  that  every  Hebrew  or  Greek  name  of 
a  musical  instrument  indicated  one  essentially  different  from  others 
of  the  same  class,  but  often,  merely  the  same  instrument  a  little 
varied.  There  were  classes  and  then  individuals  under  them, 
differing  very  little  from  each  other.  With  us  the  Jiute  is  at 
the  head  of  a  class  of  instruments  differing  in  a  small  degree 
from  each  other,  as  the  German,  English,  octave  flute,  flageolet- 
te,  etc.  Of  the  viol  kind,  we  have  the  violin,  violoncello,  viola  da 
gamba,  guitar,  etc.  So  we  suppose  kinnor  in  Hebrew  to  have 
been  a  general  term,  and  that  many  instruments  differing  a  lit- 
tle from  each  other  were  probably  included  under  it.  The  Gre- 
cian cithara^  in  like  manner  had  an  extensive  signification.  The 
harp,  answering  to  the  Hebrew  kinnor  was.  doubtless  the  instru- 
ment on  which  David  performed  so  skilfully. 

In  the  passage  (Gen.  iv.  21)  under  consideration,  we  find  the 
term  translated  Organ  (Heb.  tfgabk).    It  is  derived  from 

the  verb  13^5?  ({9<^f>h,  to  bloio,  clearly  indicating  that  it  represent- 
ed a  wind  instrument.  The  simplest  form  of  this  class  of  in- 
struments was,  doubtless,  a  reed,  forming  a  rude  fife  or  flute. 
Subsequently  it  was  made  of  other  materials. 

Flutes  and  pipes  are  found  among  all  nations,  even  the  most 
uncivilized.  The  New  Zealanders  and  inhabitants  of  other 
South  Sea  Islands  had  them  when  first  discovered. 

The  pipe  of  Pan,  or  Hebrew  ngabh,  here  presented,  perhaps, 
originally  consisted  of  one  and  subsequently  several  pipes  joined 
together  as  in  the  accompanying  engraving  (Fig  XXI). 


GENESIS,  IV.  21. 


93 


Fig.  XXI. 

Mill 


Pipe  of  Pan,  or 
Hebrew  Ugahh. 


The  Alexandrine  translators  represent  the 
term  vgahh  by  KiOdpav,  kitharan,  citkara,  as 
though  it  were  a  stringed  instrument ;  but  they 
must  have  been  mistaken,  as  the  origin  of  the 
word  shows.  Jerome  rendered  it  by  organon, 
organ,  a  double  or  manifold  pipe,  an  instrument 
consisting  of  many  pipes.  Horne  affirms  that  it 
cannot  have  been  like  our  modern  organ.  He 
supposes  it  to  have  been  a  kind  of  flute,  at  first 
composed  of  one  or  two  and  afterwards  of 
about  seven  pipes,  made  of  reeds  of  unequal 
length  and  thickness,  which  were  joined  together. 

It  most  nearly  corresponds,  he  thinks,  with  the  dvpLy^,  syrinx, 
or  pipe  of  Pan  among  the  Greeks.  Dr.  Jahn  also  supposes 
that  it  was  this  instrument  which  the  ancients  represent  as  of 
very  high  antiquity.  Niebuhr  saw  it  in  the  hands  of  a  Boor  at 
Cairo  (Reiseb.  i.  181).  Kampfer  found  it  in  common  use  among 
the  shepherds  in  Persia.  It  is  still  a  pastoral  instrument  in  Syr- 
ia (vid.  Alex.  Russell's  Nat.  Hist,  of  Alleppo).  It  is  so  ancient 
that  the  early  writers  knew  not  the  inventor  of  it.  Virgil  (Eel.  ii) 
ascribed  it  to  Pan ;  Pindar  (Od.  xii.  de  Pallade)  to  Mercury ;  Athe- 
nseus  (iv.  182)  to  Marsyas  and  Silenus,  It  must  be  considered 
as  among  the  most  ancient  Oriental  instruments.  Russell  in  his 
Nat.  Hist,  of  Alleppo  (i.  15.5, 156)  informs  us  that  "  the  higher 
notes  are  clear  and  pleasing,  but  that  the  longer  reeds  are  apt,  like 
the  dervise  flute,  to  make  a  hissing  sound,  though  blown  by  a 
good  player.  The  number  of  reeds  in  the  syrinx  varies  in 
different  instruments  from  five  to  twenty-three. 

The  following,  No's  1  and  2,  Fig.  XXII,  are  two  other  forms  of 
this  instrument  approaching  to  the  shape  of  the  organ.  In  No. 
1,  the  pipes  are  of  different  size,  usually  fixed  in  a  box,  open  at 
the  top  and  closed  at  the  bottom  by  wood  covered  with  skin. 
Wind  is  conveyed  into  the  box  from  the  lips  of  the  performer, 
through  a  tube  fitted  into  it.  The  pipes  vary  in  length,  and  by 
stopping  or  unstopping  them  at  the  top,  the  melody  is  varied 


94 


THE  LEYITES. 


as  desired.  No.  2  is  a  mo- 
dification of  No.  1.  These 
forms  bear  a  high  antiquity 
though  it  is  not  absolutely- 
certain  that  they  were 
known  to  tiie  ancient  He- 
brews. 

We  are  then  to  regard 
Jubal  as  the  inventor  of 
stringed  and  wind  instru- 
ments. All  stringed  instru- 
ments, probably,  originated 
from  the  k'lnnor^  harp^ 
and  all  wind  instruments 
from  the  ngnhh^  organ-) 
which  Jubal  invented. 


Gekesis,  xxix.  34. 

And  slie  conceived  again,  and  bare  a  son;  and 
said,  Now  tliis  time  will  my  husband  be  joined  un- 
to me,  because  I  have  borne  him  three  sons:  there- 
fore was  his  name  called  Levi. 

We  have  inserted  this  passage  in  order  to  make  some  remarks 
upon  the  term  Levi^  which  refers  to  a  class  of  persons  who  were 
engaged  in  the  music  of  the  temple  service. 

Lev'i^  Levi.,  is  derived  from  the  verb  ^j-j^  lava  to  join., 

'  "  T  T 

which  has  no  reference  to  music.  Levi  was  the  third  son  of  Ja- 
cob by  Leah  (Gen.  xxix.  34 ;  xxxiv.  25 ;  xxxv.  23),  and  stood 
at  the  head  of  the  tribe  bearing  his  name.  The  Levites  were 
solemnly  set  apart  to  conduct  the  services  of  the  temple  at  Je- 
lusalem.    Some  were  employed  as  singers  and  accustomed  to 


Fig.  XXII 


Ancient  Organ. 


GENESIS,  XXXI.  27. 


95 


stand  in  the  courts  of  the  temple,  rendering  thanksgiving  md 
praise  to  God  every  morning  and  evening  (1  Chron  xxiii.  30). 
In  the  time  of  David  four  thousand  were  engaged  in  this  service 
and  some  performed  upon  instruments  of  music  (1  Chron. 
xxiii.  5).  Asaph,  Heman  and  Jeduthun  were  the  grand-masters 
of  song  in  the  tabernacle  under  David,  and  in  the  temple  under 
Solomon.  Asaph  had  four  sons,  Jeduthun  six  and  Heman 
iburteen,  making  in  all  twenty -four.  These  were  at  the  head  of 
twenty-four  bands  of  musicians,  who  served  in  the  temple  by 
turns.  The  number  of  performers  on  all  occasions  was  large 
and  especially  at  the  chief  solemnities.  Their  position  was 
around  the  altar  of  burnt  sacrifice,  the  family  of  Gershon  stand- 
ing on  the  right,  that  of  Merari  on  the  left  and  that  of  Kohath 
between  the  other  two.  The  whole  business  of  their  lives  was 
to  learn  and  practice  music  and  they  were  required  to  be  good 
vocal  or  instrumental  performers.  Asaph  was  the  chief  master 
of  music  under  David.  During  the  performance  of  religious  exer- 
cises in  the  temple,  female^  as  well  as  male  singers,  were  allow- 
ed to  aid  in  the  music.  It  will  not  be  necessary  to  insert  the 
numerous  passages  in  which  there  are  references  to  tlie  Levites, 
unless  some  circumstance,  worthy  of  remark,  is  named  in  con- 
nection with  them. 


Genesis,  xxxi.  27. 

Wherefore  didst  thou  flee  away  secretly,  and 
steal  away  from  me ;  and  didst  not  tell  me,  that  I 
might  have  sent  thee  away  with  mirth,  and  with 
songs,  with  tabret,  and  with  harp  ? 

These  are  the  words  of  Laban,  the  Syrian,  who  pursued  Ja- 
cob as  he  fled  from  him  with  his  wives,  who  were  Laban's  daugh- 
ters. It  appears  that  the  Syrian  had  improperly  detained  Jacob 
in  his  service  and  the  latter,  feeling,  under  the  circumstances, 


96 


HEBREW  TABRET. 


that  his  determination  was  justifiable,  left  his  employer  with 
his  wives  and  property.  Laban  was  highly  displeased  and  pur- 
sued the  fugitives  in  a  rage.  But  being  warned  of  God  in  a 
dream,  not  to  lay  his  hand  upon  them,  he  merely  reproved  Ja- 
cob and  expressed  his  regret  that  he  did  not  know  the  time  of 
his  departure,  that  he  might  have  escorted  him  and  his  compan- 
ions with  a  band  of  musicians.  As  it  was  the  custom  for  the 
bridegroom,  attended  by  the  nuptial  guests,  to  conduct  the 
bride  to  his  house  at  night,  accompanied  by  her  virgin  train  of 
attendants  with  torches  and  music,  so  Laban  wished  to  have 
it  understood  that  he  desired  to  make  such  a  demonstration  at 
Jacob's  departure. 

Mirth,  Heb.  f^pj^StlJ  ^^'^^^      "^^^^  s^jnahk,  to 

rejoice.  This  term  here  means  simply, /oy,  rejoicing.  The  He- 
brews used  it  to  express  joy^  especially  on  important  occasions 
(vid.  Neh.  xli.  48  ;  11  Chron.  xxiii.  18).  The  term  employed  by 
the.  Alexandrine  translators  is  ev(ppoGvv7]g,  eirphrosvnes^  and  was 
used  particularly  by  the  Greeks  to  indicate yoy  onpuhlic  occasions^ 

Songs.  Heb.  t3^"^it25  shir'im.  This  is  a  general  term,  signifying 

music  or  song.  It  is  expressed  in  the  Septuagint  by  the  general 
terms  fjLovainojv  mousikon. 

Tabret.  toph.  This  is  one  of  the  third  class  or  percussion 
kind  of  instruments.  These,  according  to  T.  H.  Horne,  were 
three,  viz.  :  the  Tabret,  Cymbal  and  Sistrum.  Dr.  Jahn  suppo- 
ses that  there  were  four  kinds,  viz. :  the  Tabret,  Castanet,  Sis- 
trum and  an  instrument  in  the  form  of  a  triangle,  w^hich  he 
could  not  accurately  describe,  found  in  the  Hebrew  term 
t]'^tri"'i>'©  shal'ish'im.    Villoteau  found  sistra,  tambourines  and 

■  T 

cymbals.  The  Hebrews  often  employed  toph  to  indicate  all 
kinds  of  drums  and  percussion  instruments.  It  was  also  fre- 
quently used  to  designate  one  particular  instrument  of  the  per- 
cussion kind.  Gesenius  informs  us,  that  it  consisted  of  a  thin 
wooden  rim  covered  with  membrane  and  hung  around  with  brass 
bells  or  rattles.  It  was,  probably,  held  in  the  left  hand  and 
beaten  to  notes  of  music  with  the  right,  accompanied,  generally, 


GENESIS,  XXXI.  27. 


97 


with  dancing.  It  is  common  at  the  present  day  in  the  East  and 
in  Spain,  where  it  is  called  addujf.  Jahn  asserts  that  it  is  not  our 
kettle-drum,  as  the  word  is  generally  rendered,  but  a  wooden  or 
metal  ring,  a  little  wider  than  a  hand-ring,  with  a  hide  drawn 
over  it  and  usually  having  thin,  round  metallic  plates,  rings  or 
bells  hung  on  the  edges,  jVow,  as  in  ancient  times,  the  perform- 
ers upon  this  instrument  are  females,  who  dance  and  keep  time 
with  the  music.  Kampfer  remarks  that  the  tabret  when  set 
with  rings,  is  called,  in  Persia,  Daireh.  This  is,  probably,  the 
same  instrument  which  is  called  in  Barbary,  Carr  (vid.  Amoen. 
Exot.  p.  740.  sq).  It  has  been  found  engraved  upon  ancient 
monuments  and  on  precious  stones,  in  the  hands  of  Bachanals 
and  the  Cybils  and  their  priests.  It  was  not  used  in  war,  but  at 
festivals  and  public  rejoicings.  The  LXX  represented  this  in- 
strument by  rviirrdvcjv^  iianpanon,  tympanum.  The  terms,  tabret, 
tabor,  timbrel  and  tambourine  indicate  the  same,  or  nearly  the 
same  instrument.  The  Masnades,  a  rude  tribe,  inhabiting  the 
Thracian  mountains,  in  their  bachanalian  songs,  make  use  of  ket- 
tle drums  and  tambourines.  The  Arabians  call  this  instrument 
deff,  and  it  was,  probably,  carried  into  Spain  by  the  Moors. 
Durino;  the  middle  a^xes  it  was  in  use  and  called  tambour  or  clo- 
quette.  It  appeared  in  almost  every  concert  throughout  the  East. 
The  larger  tambourine  is  called  tambour  de  basque,  from  the  fict 
that  it  is  used  in  Biscay,  to  accompany  all  of  the  national  songs 
and  dances.  It  appears  from  Gen.  xxxi.  27,  that  the  Hebrews 
were  acquainted  with  the  tabret  before  they  left  Syria,  and  it  is 
the  first  instrument  mentioned  after  their  exode  from  Egypt 
(Ex.  XV.  "20).  It  seems  to  have  been  a  fovorite  instrument  both 
on  sacred  and  joyful  occasions.  There  were  three  kinds,  varying 
in  form  and,  probably,  in  sound.  One  kind  was  round,  another 
square  or  oblong  and  the  third  consisted  of  two  squares  with  a 
bar  separating  them. 

The  following  are  some  of  the  pulsatile  instruments  of  the 
ancient  Egyptians,  midoubtedly  representing  those  of  the  He- 
brews. 


98 


EGYPTIAN  PULSATILE  IXSTRUMEXTS. 


Ancient  Toph  or  Tahret 
from  the  ?-uins  of  Iler- 
culaneum. 


This  is  an  imperfect  specimen  taken 
from  the  ruins  of  Ilerculaneum.  It  Avas 
carried  in  the  hand  aud  beaten  with  the 
fingers.  The  bells  are  an  appendage  and 
perhaps,  constituted  a  tahret  or  timbrel. 

The  following  (Fig.  XXIV)  represents 
two  ancient  Egyptian  tambourines.  No. 
1,  is  of  an  angular  form,  and  No.  2,  of  a 
circular  form. 

We  present  on  p.  99,  five  forms  of  anci- 
ent Egyptian  Sistra  (Fig.  XXV).  They  are 
found  in  Kitto's  Encyclopjedia  of  Biblical 
Literature,  vol.  ii.  p.  380,  and  other  works. 

The  four  in  Fig.  XXVI,  are  other  forms  of  Egyptian  Sistra. 
In  Fig.  XXVII,  we   have  different  forms  of  pulsatile  in- 
struments.    No.  1  represents  castanets,  or  smaller  Egyptian 
cymbals,  placed  upon  the  fin- 
gers of  each  hand  and  struck 
together.      No.  2  represents 
a  tabret-drum  struck  by  balls 
suspended  from  it.    No.  3  a 
kettle  drum,  and  No.  4  two 
forms  of  drums  upon  a  sup- 
posed ancient  Hebrew  coin. 

In  Fig.  XXVIII,  there  are 
three  forms  of  ancient  Egypt- 
ian drums. 

In  Fig.  XXIX,  there  are 
three  modern  Oriental  drums 
and  one  from  the  ruins  of  an- 
cient Egypt.    No.  5  represents  the  sticks  for  No.  3. 

Some  other  forms  of  percussion  instruments  will  be  given,  as 
we  proceed  in  the  examination  of  Hebrew  musical  terms. 


Fig.  XXIV. 


Two  Ancient  Egyptian  Tambourines. 


GENESIS,  XXXI.  27. 


Fig.  XXV. 


Ancient  Sistra  of  various /orTm. 


EGYPTIAN  PULSATILE  INSTRUMENTS. 


Eight  Ancient  Egyptian  Pulsatile  Instruments. 


Fig.  XXVIII. 


Three  forms  of  Ancient  Egyptian  Brtuns, 


Fig.  XXIX. 


One  Ancient  Egyptian  and  three  Modern  Oriental  Drums. 


EXODUS,  INTRODUCTOEY  REMARKS.  101 


EXODUS,  OR  THE  SECOND  BOOK  OF  MOSES. 

INTRODUCTORY  REMARKS. 

The  name  of  this  book,  adopted  from  the  Septuagint, 
indicates  the  principal  transaction  recorded  in  its  pages, 
viz. :  the  departure  of  the  Israelites  from  their  captivity  in 
Egypt.  Exodus  contains  a  history  of  the  events  which 
occurred  during  the  space  of  145  years  from  1635  to  1490 
B.  C,  or  from  the  death  of  Joseph  to  the  erection  of  the 
Tabernacle.  It  was  undoubtedly  composed  by  Moses,  and 
probably  soon  after  he  wrote  the  book  of  Genesis.  It 
must  have  been  after  the  giving  of  the  law  on  Sinai  and 
the  erection  of  the  Tabernacle  as  they  are  described  in  its 
pages.  It  was  probably  designed  not  only  to  chronicle  the 
departure  of  the  Israelites  from  Egyptian  bondage,  but  the 
wonderful  preservation  of  the  Church  of  God  from  destruc- 
tion, though  passing  through  the  deepest  afflictions  and 
persecutions.  The  book  records  the  intense  sufferings  of 
the  Jews  in  Egypt,  under  Pharaoh  Eameses  II — the  birth, 
exposure  and  preservation  of  Moses — his  subsequent  flight 
into  Midian,  his  call  and  admission  to  Pharaoh  Amenophis 
II — the  miracles  performed  by  him  and  Aaron — the  ten 
plagues  inflicted  upon  the  Egyptians  by  the  divine  dis- 
pleasure— the  institution  of  the  Passover — the  miraculous 
passage  of  the  Israelites  through  the  Red  Sea,  and  the  de- 
struction of  their  enemies — their  journeyings  in  the  wilder- 
ness— their  idolatry  and  murmurings  against  God — the 
promulgation  of  the  law  on  Sinai  and  the  erection  of  the 
tabernacle. 

There  are  several  allusions  to  music  in  this  book,  which 
we  shall  proceed  to  consider. 


102 


SONG  OF  MOSES. 


Exodus,  xv.  1-18. 

Then  sano^  Moses  and  the  children  of  Israel  this 
song  unto  the  Lord,  and  spake,  saying, 

I  will  sing  unto  the  Lord,  for  he  hath  triumphed  glori- 
ously : 

The  horse  and  his  rider  hath  he  thrown  into  the  sea. 
2  The  Lord  is  my  strength  and  song. 

And  be  is  become  my  salvation : 

He  is  my  God,  and  I  will  prepare  him  an  habitation ; 

My  father's  God,  and  I  will  exalt  him. 
8  The  Lord  is  a  man  of  war : 

The  Lord  is  his  name. 

4  Pharaoh's  chariots  and  his  host  hath  he  cast  into  the  sea : 
His  chosen  captains  also  are  drowned  in  the  Eed  Sea. 

5  The  depths  have  covered  them : 
They  sank  into  the  bottom  as  a  stone. 

6  Thy  right  hand,  0  Lord,  is  become  glorious  in  power : 
Thy  right  hand,  0  Lord,  hath  dashed  in  pieces  the  enemy. 

7  And  in  the  greatness  of  thine  excellency 

Thou  hast  overthrown  them  that  rose  up  against  thee : 
Thou  sentest  forth  thy  wrath, 
Which  consumed  them  as  stubble. 

8  And  with  the  blast  of  thy  nostrils 
The  waters  were  gathered  together. 
The  floods  stood  upright  as  an  heap, 

And  the  depths  were  congealed  in  the  heart  of  the  sea. 

9  The  enemy  said,  I  will  pursue,  I  will  overtake, 
I  will  divide  the  spoil ; 

My  lust  shall  be  satisfied  upon  them  ; 

I  will  draw  my  sword, 

My  hand  shall  destroy  them. 


EXODUS,  XY.  1-18. 


103 


10  Thou  didst  blow  with  thy  wind, 
The  sea  covered  them : 

They  sank  as  lead  in  the  mighty  waters. 

11  Who  is  like  unto  thee,  0  Lord,  among  the  gods? 
Who  is  like  thee,  glorious  in  holiness, 

Fearful  in  praises,  doing  wonders  ? 

12  Thou  stretchedst  out  thy  right  hand. 
The  earth  swallowed  them. 

13  Thou  in  thy  mercy  hast  led  forth  the  people 
Which  thou  hast  redeemed  : 

Thou  hast  guided  them  in  thy  strength. 
Unto  thy  holy  habitation. 

14  The  people  shall  hear,  and  be  afraid  : 

Sorrow  shall  take  hold  on  the  inhabitants  of  Palestina. 

15  Then  the  dukes  of  Edom  shall  be  amazed; 

The  mighty  men  of  Moab,  trembling  shall  take  hold 
upon  them ; 

All  the  inhabitants  of  Canaan  shall  melt  away. 

16  Fear  and  dread  shall  fall  upon  them ; 

By  the  greatness  of  thine  arm  they  shall  be  as  still  as  a 
stone ; 

Till  thy  people  pass  over,  0  Lord,  till  the  people  pass 
over,  which  thou  hast  purchased. 

17  Thou  shalt  bring  them  in. 

And  plant  them  in  the  mountain  of  thine  inheritance, 
In  the  place,  0  Lord,  which  thou  hast  made  for  thee  to 
dwell  in, 

In  the  Sanctuary,  0  Lord,  which  thy  hands  have  estab- 
lished. 

18  The  Lord  shall  reign  for  ever  and  ever ! 

This  is  a  song  of  Moses  and  the  Israelites  in  view  of  their 
miraculous  passage  through  the  Red  Sea,  and  deliverance  from 
their  enemies,  while  the  latter  were  overwhelmed  by  the  return- 


104: 


HEBREW  TOPH. 


ing  waters.  Bishop  Lowth  informs  us  that  the  Hebrews  were 
accustomed  to  sing  or  chant  their  sacred  hymns,  accompanied  by 
instrumental  music,  while  answering  choirs  alternately  uttered 
their  songs  of  praise.  Sometimes  one  choir  performed  the 
hymn  while  the  other  sung  a  particular  distich,  regularly  inter- 
posed at  stated  intervals.  The  responsive  method  was  undoubt- 
edly employed  on  this  joyful  occasion  (Exod.  xv.  20,  21). 
Moses  and  the  male  Israelites  sung  one  part  while  Miriam  and 
the  other  female  performers  uttered  the  answering  strains  of  this 
lyric  poem.    (For  a  description  of  Ileb.  poetry  vid.  p.  232  infra,) 

Verse  1. — Sang.  In  the  Hebrew  the  general  term  is  used  sig- 
nifying to  sing  (vid.  Remarks  on  Gen.  xxxi.  27.  supra). 

Song. — The  noun  is  here  used  having  the  same  derivation  as 
sang,  above.  The  verb  of  the  same  signification  is  employed  in 
the  original  of  the  expression  "  /  will  sing,''''  in  the  same  verse. 

V.  2. — Song.   The  original  term  zimrath  signifies  song, 

T    !  • 

though  that  is  not  the  most  usual  expression.  It  is  derived  from 
"l^^T  to  prune.    In  the  Peal  conjugation  it  signifies  to  cut 

off  discourse  at  regular  periods,  to  utter  in  rhjthmica  l  numbers,  to 
sing.  In  the  Syriac  and  Arabic  it  has  the  same  signification. 
The  LXX  translate  it  by  GKenaorrig,  sl-epastes,  meaning  protec- 
tor. This  signification,  of  course,  has  no  allusion  to  music,  and 
we  cannot  perceive  how  it  could  be  derived  from  the  Plebrew 
term. 

Exodus,  xv.  20. 

And  Miriam  the  prophetess,  the  sister  of  Aaron, 
took  a  timbrel  in  her  hand ;  and  all  the  women 
went  out  after  her  with  timbrels  and  dances. 

Timbrel. — Heb.  toph.  This  is  the  same  term  as  that  used 
in  Gen.  xxxi.  27,  and  probably  indicates  the  same  instrument^ 
viz. :  the  timbrel,  tabret  or  tambourine.     The  LXX  also  employ 


EXODUS,  XV.  20. 


105 


the  same  word,  as  they  do  m  Gen.  xxxi.  27.  This  was  about 
250  years  after  the  time  -when  Jacob  left  Laban,  and  it  is  proba- 
ble that  the  tabret  was,  essentially,  the  same  at  both  periods 
(for  a  description  of  this  instrument,  vid.  Rem.  on  Gen.  xxvi. 
27.  supra). 

Timbrels. — The  plural  form  of  toph  is  here  used  in  the  origi- 
nal. There  may  have  been  several  kinds  of  tophs.  At  least  the 
term  seems  often  to  have  been  used  in  a  very  general  sense.  It 
is  supposed  by  some  as  we  have  already  intimated,  that  toph  in- 
cluded all  of  the  percussion  instruments  of  the  Hebrews. 

Dances. — The  disposition  to  make  use  of  rhythm  or  meas- 
ured language  and  motion,  is  deeply  implanted  in  human  nature. 
As  far  back  into  antiquity  as  history  extends,  it  reveals  to  us 
the  fact  that  even  the  rudest  nations  have  expressed  their  feelings, 
when  elevated,  by  measured  movements  or  the  dance.  This  ex- 
ercise was  practised,  in  early  times,  as  a  religious  ceremony, 
and  as  we  pass,  we  shall  take  notice  of  allusions  to  it  by  the  sacred 
writers.  As  the  people  advanced  in  civilization  and  refinement, 
and  restrained  the  full  expression  of  their  emotions,  dancing  was 
cultivated  as  an  elegant  amusement,  though  often  leading  the  un- 
wary into  scenes  of  vice.  The  mild,  calm  and  chastened  charac- 
ter of  the  Christian  religion  soon  excluded  this  exercise  from  its 
sacred  services.  Among  the  Jews,  dancing  was  generally  an  ac- 
companiment to  mAisic.  It  was  common  at  their  feasts,  public 
triumphs  and  during  all  seasons  of  mirth  and  rejoicing.  At  the 
present  day,  in  the  East,  girls  exhibit  voluptuous  performances 
in  dancing.*  In  our  own  country  among  a  sect,  called  Shakers^ 
this  exercise  constitutes  a  part  of  their  religious  services. 

In  the  passage  under  consideration,  the  dancing  mentioned,  was, 
undoubtedly,  considered  by  the  Hebrews  as  an  important  part  of 
the  celebration  of  their  victory  and  as  a  fit  accompaniment  of 
their  triumphant  song  of  praise  to  God. 

The  Hebrew  word  for  dancing  is  fi5n)2  rti^hJtoloth^  derived 
from  hhul  or  hh'il^  signifying  literally  to  turn^  to 

♦Vid.  Games'  Letters  from  the  East  p,  165.  Pareau;  Antiq.  Heb.  p.  431. 


106  Miriam's  song. 

twist,  to  turn  around.     The  Arabic  word  is  hhala  to  he 

turned.  The  Septuagint  designates  it  by  ;\;op65v,  chdron,  often 
signifying  a  dance  accompanied  by  singing. 

It  is  probable  that  the  Hebrews  were  not  very  precise  or  ac- 
complished in  their  movements.  They  had  a  higher  object  than 
celerity  and  gracefulness  in  the  exercise  and  especially  after  their 
victory  over  the  Egyptians  at  the  Red  Sea,  for  their  vocal  and  in- 
strumental music  and  dancing  on  that  occasion  were  all  employ- 
ed as  an  expression  of  their  gratitude  to  God  in  view  of  their 
miraculous  deliverance  from  their  enemies. 

Exodus,  xv.  21. 

And  Miriam  answered  them  : 

Sing  ye  to  the  Lord  for  be  hath  tri  urn  plied  gloriously ; 
The  horse  and  his  rider  hath  he  thrown  into  the  sea. 

Miriam  answered  them.  It  seems  from  this  that  a  part  of  the 
performers  had  been  singing,  but  had  now  ceased,  and  Miriam 
with  the  female  Israelites  uttered  the  answering  strains  in  beau- 
tiful lyric  poetry  (vid.  Remarks  on  Ex.  xv.  1.  18,  supra). 

Sing. — The  general  term  is  here  used  in  the  original  (vid. 
Remarks  on  Gen.  xxxi.  27). 

Exodus,  xix.  13. 

There  shall  not  an  hand  touch  it,  but  he  shall 
surely  be  stoned,  or  shot  through  ;  whether  it  he 
beast  or  man,  it  shall  not  live :  when  the  trumpet 
soundeth  long,  they  shall  come  up  to  the  mount. 


The  inspired  writer  is  here  narrating  the  circumstances  of 


EXODUS,  XIX.  13. 


107 


an  angnst  scene,  viz. :  the  giving  of  the  law  on  Monnt  Sinai. 
Jehovah,  through  his  servant  Moses,  commanded  the  Israelites 
to  sanctify  themselves  and  be  prepared  for  the  great  event  which 
was  to  transpire  at  the  end  of  three  days,  when  the  Divine  pow- 
er and  goodness  would  be  manifested.  Moses  was  directed  to 
set  bounds,  beyond  which  none  could  pass,  and  to  inform  his 
people  that  whoever  should  touch  the  Mount,  would  be  instantly 
destroyed.  When  all  things  should  be  ready,  a  long  blast  of 
the  trumpet  was  to  be  the  signal  for  the  people  to  approach  the 
Mount  and  hear  the  message  of  Jehovah. 

Trumpet. — Here  i;3  an  instrument  not  before  mentioned  by 
the  inspired  writers.  Its  use  in  this  instance  was  about  250 
years  after  that  of  the  timbrel  mentioned  in  Gen.  xxxi.  27,  and 
about  2353  years  after  the  use  of  the  harp  and  organ  mentioned 
in  Gen.  iv.  21.  From  the  Scriptures  we  learn  that  the  harp  and 
organ  were  played  about  1495  years  before  the  deluge,  the  tim- 
brel about  610,  and  the  horn  851  years  after  that  catastrophe. 

The  Hebrew  word  here  translated  trumpet^  is  yobhel^  gen- 
erally ^ii"^  yobhel^  signifying  2l  joy  fill  shout,  the  clangor  of  trum- 
pets, trumpet-signal,  alarm..  The  Chaldee  paraphrasts  and  rabbins 
supposed  that  it  signified  a  ram,  and  that  i^l'^^  T*^.]?.'  ^^^VV^- 
hhel  signified  a  ram' s-liorn  ;  but  this  is  a  mere  conjecture.  Rabbi 
Levi  and  Akiba  assert  that  it  has  the  same  meaning  in  Arabic  ; 
but  this  must  be  a  mistake,  as  such  a  definition  does  not  appear 
in  Arabic  lexicons  (vid.  Bocharti  Hieroz.  p.  i.  lib.  ii.  c.  43). 
'J'D]?  ^-^^'^-i  ^^'^"'^1  generally  precedes,  yobhel  or  i^'^H?  ^^^VV^- 

bhel,  though  here  it  does  not.  When  used  together,  the  two 
words  signify  horn  of  jubilee,  horn  of  alarm,  i.  e.,  a  horn  with 
which  a  signal  or  alarm  is  sounded.  Sometimes  it  is  written,  as, 
probably  in  this  case,  elliptically,  'j']^?  qeren,  horn,  being  implied. 
Yobhel,  then,  signifies  here,  jubilee  or  jubel  horn.  Jahn  supposes 
that  'j'lj!^?  qt^en  was  one  of  the  most  ancient  instruments  of  music 
and  was  originally  nothing  more  than  the  horn  of  an  ox  with  an 
opening  made  in  the  top.  Subsequently,  a  ram's  horn  was  made 
hollow  and  used  for  a  wind  instrument,  and  finally,  the  qeren  was 


108 


HEBREW  TRUMPETS. 


made  of  brass.*  The  same  learned  author  thinks  it  not  unlikely 
that  Jubal  invented  this  instrument.  lie  may  have  first  used 
the  horn ;  but  it  is  probable  that  the  jubilee  horn  received  its 
name  from  the  fact  that  it  was  used  to  proclaim  the  commence- 
ment of  the  jubilee  among  the  J  ews  (vid.  Lev.  xxxv.  9,  10).  It 
was  also  employed  to  announce  the  beginning  of  the  civil  and 
sabbatical  year  (Lev.  xxiii.  24;  Num.  xxix.  1)  ;  but  as  the  jubilee 
was  the  most  important  event,  it  doubtless  gave  its  name  to  the 
instrument.  Being  subsequently  improved,  it  was  probably 
called  by  different  names.  Josephus  informs  us  that  the  tube  or 
pipe  of  the  trumpet  was  of  the  thickness  of  the  common  flute. 
The  mouth  was  barely  wide  enough  to  admit  the  breath  of  the 
performer,  and  the  end  bell-shaped  like  that  of  the  modern 
trumpet  (Joseph.  Ant.  iii.  xii.  G).  The  instrument  had  then  be- 
come much  improved.  At  first,  the  Israelites  had  but  two  in  the 
camp,  though  subsequently  they  had  more.  In  Joshua's  time, 
there  were  at  least  seven  (vid.  Josh.  vi.  4),  and  at  the  dedication 
of  Solomon's  temple  120  priests  sounded  with  trumpets  (II 
Chron.  v.  12).  The  Hebrew  generals  also  used  them  in  war. 
Originally,  they  were  horns  or  crooked  trumpets,  and  subse- 
quently, straight  tubes  like  those  described  by  Josephus,  to 
which  reference  is  made  above.  Of  this  latter. kind,  probably, 
were  those  mentioned  in  Num.  x.  8,  10;  I  Chron.  xv.  24;  II 
Chron.  vii.  6  and  xxix.  26.  In  time  of  peace  when  the  rulers  of 
people  were  to  be  called  together,  these  trumpets  were  blown 
softly  ;  but  when  the  camps  were  to  move  forward,  or  the  people 
to  rush  to  battle,  they  were  sounded  with  a  deeper  tone.  Moses 
caused  two  silver  trumpets  to  be  made  for  the  priests ;  but  in  the 
time  of  David,  these  and  other  musical  instruments  were  much 
more  numerous,  ornamented  and  varied  in  form.  T.  H.  Horne 
maintains  that  the  horn  and  trumpet  were  two  distinct  instru- 
ments. When  made  of  a  cow's  or  ram's  horn,  he  calls  it  horn 
or  crooked  trumpet^  and  when  straight,  and  perhaps  made  of 


*  Cf.  Varro  de  lingua  Lat.  lY.  p.  35,  where  he  says,  "  Cornua,  quod  ea, 
quae  nunc  sunt  exajre,  tunc  fiebant  ex  bubulo  cornu." 


EXODUS,  XIX.  16. 


109 


other  materials,  he  calls  it  trxnnj)ei  or  straight  trurapet.  This 
distinction  is  perhaps  proper,  as  the  horn  or  crooked  trumpet  is 
much  more  ancient  than  the  straight  one.  That  mentioned  in 
Ex.  xix.  13,  was  doubtless  a  crooked  one,  made,  perhaps,  of  the 
horn  of  an  ox. 

We  here  present  some  ^ig- 
specimens  of  the  ancient 
trumpet.  The  following 
(Fig.  XXX)  represents 
four  (Xos.  1,2,  3  and  4) 
crooked  trumpets,  and 
one  straight  one.  Sound- 
eth  long  (Ex.  xix.  13). 
The  occasion  was  a  very 
solemn  one,  and  the 
trumpet  was  sounded 
longer  and  louder  than 
usual  in  time  of  peace. 
The  LXX  employ  the 
term  oaXmyyeg,  sal- 
pinges,  trumpets.    The  word  Tjii/p?  '^^^^shok, 


Four  forms  of  the  ancient  Bebreic  Shophnr  or 
crooked  Trwjnpet,  and  one  straight  Ti'umpet. 


soundeth  is  from 
/  / 


'JJ'QJ^,  mnshdk,  to  seize,  to  draw  (xlrabic  dlX-w^  masaka),  to 
draw  the  trumpet^  i.  e.  to  sovnd  it. 


Exodus,  xix.  16. 

And  it  came  to  pass  on  the  third  day  in  the 
morning,  that  there  were  thunders  and  lightnings, 
and  a  thick  cloud  upon  the  mount,  and  the  voice 
of  the  trumpet  exceeding  loud ;  so  that  all  the  peo- 
ple that  was  in  the  camp  trembled. 


This  is  a  striking  instance  of  the  effect  which  the  sound  of 


110 


HEBREW  TRUMPETS. 


the  trnmpet  sometimes  produced  on  the  minds  of  the  Israelites. 
At  this  time,  the  effect  was  much  greater  than  usual  in  conse- 
quence of  the  solemn  circumstances  under  Avhich  the  bhist  was 
made ;  but  the  sound  of  the  trumpet  always  produced  a  thrilling 
effect  upon  the  mind  of  an  Israelite,  as  it  was  a  sacred  instrument 
and  only  blown  on  important  occasions.  They  trembled  in  their 
camps. 

Trumint.    "^^^iJ,  shdphcn\  usually  'nSi''^^',  shdphai\a  trumpet^  a 

T  "  T 

horn.  Jerome  remarks  on  Hos.  v.  8 ;  "  Buccina  pastoralis  est  et 
cornu  recurso  efhcitur,  unde  et  propria  Hebraice  sophar  Grtece 
neparivT]  appellatur."  "  The  pastoral  trumpet  is  made  of  a 
crooked  horn,  hence  it  is  properly  called  in  Hebrew  shophar  and 
in  Greek  KeparLVT],  keraii?ie,''^  signifying  made  of  horn.  The 
shop)har  was,  doubtless,  the  same  instrument  as  the  yohhel, 

the  jubilee  horn  or  crooked  trumpet.  Gesenius  remarks,  that 
there  seems  to  have  been  no  difference  between  i)2'="n  "p!^:  qc_rm 

hayyobhel  and  ^^''in  "nSiui^  shophar  hayyobhel^  both  designat- 
ing the  horn  or  crooked  trumpet.  It  is  evident  that  the  instrument 
was  made  of  horn  or  in  the  shape  of  a  horn,  as  it  is  frequently 
interchanged  with  "pJD:  q^^'cn,  horn  (vid.  Josh.  vi.  5  ;  cf.  verses  4, 

6,  8  and  13  of  same  chap. ;  also,  Job,  xxxix.  25).  The  Septuagint 
has  odXTTLyyog,  salpinr/os,  trumpet^  the  same  word  which  is  used 
for  J^K,  yobhel  (vid.  Remarks  on  Ex.  xix.  13  supra).    Dr.  Jahn 

thinks  that  the  shophar  was  very  similar,  if  not  the  same  instru- 
ment as  the  qejen.,  since  both  words  are  often  exchanged  with 
each  other,  and  both  instruments  were  used  in  war.  It  is  now 
customary  in  crusades  to  blow  horns.  The  ancient  Thracians 
used  these  instruments  to  give  necessary  signals  in  war,  and  the 
Persian  armies  blew  upon  the  same  as  a  signal  to  march  (vid. 
Exped.  Cyr.  viii.  4.  15;  Cyr.  y.  3;  xix.  19).  Aquila,  Sym- 
machus  and  the  Alexandrine  translators  often  render  the  word 
by  KEparLvr],  keratine  (from  Kepag,  keras,  a  horn).  Josephus  as- 
serts that  the  instruments  blown  by  Gideon's  warriors  were 
shophars.    In  course  of  time,  they  were  made  of  metal.  The 


EXODUS,  XIX.  10  ;  XX.  18. 


Ill 


horn  is  now  retained  among  the  Persians.  Those  used  by  the 
Hebrews  must  have  been  more  like  the  crooked  liiuus  (employed 
in  war)  than  the  straight  tuba  of  the  Romans.  The  Greek 
oaXTTiy^^  salpinx^  by  which  the  x\lexandrine  translators  often  rep- 
resent the  sliophar  and  hatsotsera  (vid.  Rem.  on  Num.  x.  2, 
infra)^  had  six  different  forms,  and  it  would,  perhaps,  have  been 
better  if  they  had  expressed  the  former  by  salj)inx,  meaning  the 
Egyptian  saljyinx,  which  the  Greeks  usually  call  x^oi;?/,  chnoK?. 
The  Egyptians,  and,  subsequently,  the  Hebrews,  were  called  to- 
gether by  this  instrument  (which  was  evidently  the  crooked 
trumpet),  for  sacrifices  and  other  purposes.  The  LXX  translate 
qeren  by  salpinx  (vid.  Josh.  vi.  4,  verse  5  in  our  translation). 
The  former,  however,  and  the  shophar^  were  not  only  used  in  war, 
but  also  on  joyful  occasions  (vid.  II  Sam.  vi.  15 ;  I  Sam.  xiii.  3 ; 
Judges,  iii.  27;  Isa.  xviii.  3;  Jer.  iv.  5;  Ez.  xxx.  6).  The 
sound  of  the  trumpet,  and  especially  of  the  horn,  was,  at  least, 
in  the  minds  of  the  people,  solemn  and  awful,  like  heavy  thun- 
der (vid.  Matt.  xxiv.  31;  I  Cor.  xv.  52;  Heb.  xii.  19;  cf.  Ex. 
xix.  16,  19;  XX.  18;  Ps.  xlvii.  5;  Isa.  xxvii.  13;  Zech.  ix.  14; 
Rev.  i.  10;  iv.  1  ;  viii.  2,  6,  13;  ix.  14). 

Exodus,  xix.  19. 

And  wlien  tlie  voice  of  tlie  trumpet  sounded 
long,  and  waxed  louder  and  louder,  Moses  spake, 
and  God  answered  him  by  a  voice. 

Reference  is  here  made  to  the  same  event  as  in  Ex.  xix.  16, 
and  the  same  words  are  used  in  the  Hebrew  and  Septuagint  for 
trumpet  as  in  that  passage. 


Exodus,  xx.  18. 
And  all  the  people  saw  the  thundei-ings,  and  the 


112 


HEBREW  TRUMPETS. 


lightnings,  and  the  noise  of  the  trumpet,  and  the 
mountain  smoking :  and  when  the  people  saw  it, 
they  removed,  and  stood  afiir  off. 

The  scene  here  described  was  exceedingly  thrilling  and  terrific. 
The  thunders  were  roaring,  the  lightnings  flashing,  the  trumpet 
sounding,  the  mountain  smoking,  and  the  Almighty  speaking  to 
Moses  on  the  Mount.  It  is  not  strange  that  the  people  feared 
and  trembled,  and  withdrew  from  those  terrors.  The  original 
words  here  are  the  same  as  in  Ex.  xix.  19. 

Exodus,  xxxii.  17. 

And  when  Joshua  heard  the  noise  of  the  people 
as  they  shouted,  he  said  unto  Moses,  There  is  a 
noise  of  war  in  the  camp. 

It  seems  that  the  children  of  Israel  had  waited  for  Moses  to 
return  from  the  Mount,  until  their  impatience  had  induced  them 
to  forsake  the  God  of  their  fathers.  They  constructed  a  golden 
calf,  and  had  already  commenced  to  worship  it.  As  Moses  came 
down,  he  saw  the  people  with  astonishment,  sporting  and  shout- 
ing in  the  midst  of  their  idolatrous  services. 

Shouted. — reo^  from  ruah  or  r'iah,  to  cry  aloud. 
This  word  is  sometimes  used  in  warlike  shouts^  as  in  Josh.  vi. 
16,  and  in  1  Sam.  xvii.  20 ;  sometimes  as  a  shout  of  joy,  in 
triumph,  as  in  Judges,  xv.  14,  and  sometimes  it  signifies  to  sound 
a  trumpet^  Num.  x.  9.  Here  it  indicates  a  shout  of  joy.  The 
LXX  have  tcpa^ovroyv  kradzqntdn,  to  croak,  to  cry  out  ivith  a 
great  clamor.  The  Israelites  were  evidently  making  an  unusual 
disturbance,  and  the  outcry  may  have  been  really  a  war  shout  as 
Joshua  supposed.  Some  were  for  God,  and  some  for  the  golden 
calf  The  idolaters  may  have  been  about  to  make  an  attack 
upon  their  brethren  who  opposed  them. 


EXODUS,  XXXII.  18. 


113 


Exodus,  xxxli.  18. 

And  lie  said,  It  is  not  the  voice  of  tliem  that 
shout  for  mastery,  neither  is  it  the  voice  of  them 
that  cry  for  being  overcome :  but  the  noise  of  them 
that  sin 2:  do  I  hear. 

The  cause  of  the  shouting  among  the  Israelites  to  which  ref- 
erence is  made  in  Ex.  xxxii.  17,  is  here  explained.  It  was  "  the 
noise  of  them  that  sing." 

Shout. — A  word  different  from  that  in  verse  17,  translated 
"  shouted^''  is  here  used.    It  is  ^"j^^,  ^nbtli^  from  XV^^Ji 

T  T     "  " 

sincf^  to  chant.,  to  sing  of  any  one.,  to  celebrate  by  song,  to  cry 
aloud  like  soldiers  in  battle,  to  shout  in  triumph.  The  last  is 
probably  the  true  definition  here.  The  worshippers  of  the 
golden  calf  were  probably  triumphing  over  the  Levites  who 
seem  to  have  adhered  to  the  worship  of  the  true  God.  It  was 
probably  a  shout  of  exultation  over  Jehovah  and  all  of  his  true 
worshippers.  It  may  also  have  been  a  kind  of  war  shout  or 
signal  of  attack  upon  the  friends  of  God,  as  in  the  preceding 
verse. 

Cry. — The  original  of  this  both  in  the  Ileb.  and  Septuagint  is 
the  same  as  that  of  shout,  above ;  but  signifies  here  a  cry  of 
fear  when  one  is  overcome  by  an  enemy. 

Sing. — The  same  original  words  are  used  here  as  in  the  two 
cases  above,  though  translated  differently.  "The  noise  of  them 
that  sing."  This  was  probably  a  noisy  shout  of  triumph,  con- 
nected w^ith  vociferous  singing.  It  was  customary  among  the 
Israelites  as  well  as  among  other  nations  in  the  times  of  which 
we  are  speaking,  to  shout  before  making  an  attack  upon  an 
enemy  (vid.  I  Sam.  xvii.  20,  52;  II  Chron.  xiii.  15;  Jer.  i.  42). 
The  same  custom  prevails  at  this  day  among  the  Cossacks,  Tar- 
tars, Turks,  and  our  own  Indians.  Sometimes  the  Hebrews  ad- 
vanced to  battle  singing  hymns  (II  Chron.  xx.  21,  22),  and  the 
priests  gave  the  signal  by  sounding  their  silver  trumpets. 


114 


HEBEEW  DANCING. 


Exodus,  xxxii.  19. 

And  it  came  to  pass,  as  soon  as  lie  came  nigh 
unto  the  camp,  that  he  saw  the  calf,  and  the  danc- 
ing :  and  Moses'  anger  waxed  hot,  and  he  cast  the 
tables  out  of  his  hands,  and  brake  them  beneath 
the  mount. 

Dancing. — It  appears  that  there  was  not  only  shouting  and 
singing  on  the  occasion  to  which  reference  is  here  made,  but 
dancing.  This  was  usually  an  accompaniment  of  triumphant 
shouting  and  singing  (vid.  Rem.  on  Ex.  xv.  20,  supra).  The 
same  words  are  used  in  the  original  as  in  Ex.  xv.  20. 


LEVITICUS,  IX.  24. 


115 


LEVITICUS,  OR  THE  THIRD  BOOK  OF  MOSES. 

IXTRODUCTOEY  EEMARKS. 

This  book  is  called  by  the  LXX  AevtrLKov  Leuitihon^ 
Leviticus^  because  it  presents  a  description  of  the  religious 
ceremonies,  laws,  and  especially  the  sacrifices  of  the  He- 
brews, the  superintendence  of  which  was  committed  to 
Aaron  the  Levite  and  his  sons,  who  alone  held  the  priestly 
office  in  the  tribe  of  Levi.  The  Babjdonish  Talmud,  fol- 
lowed by  the  Arabic  and  Syriac  versions  of  the  Scriptures, 
calls  this  book  the  Law  of  the  Priests. 

Leviticus  was  evidently  written  by  Moses,  and  contains 
the  history  of  one  month,  from  the  erection  of  the  taber- 
nacle to  the  numbering  of  the  people,  who  were  fit  for 
war,  or  from  the  beginning  of  the  second  year  after  Israel's 
departure  from  Egypt  to  the  commencement  of  the  second 
month  of  the  same'  year,  B.  C.  14-90  (cf.  Ex.  xl.  17,  with 
Xum.  i.  1).  AVe  cannot  ascertain  when  the  laws  not  re- 
lating to  sacrifices  were  promulgated,  as  the  Hebrews  have 
no  chronological  works. 

The  ol)ject  of  the  book  is  to  direct  the  minds  of  the 
Israelites  to  the  Messiah,  by  describing  the  Levitical  laws, 
sacrifices,  and  ordinances  as  "  shadows  of  good  things  to 
come." 

Leviticus,  ix.  24. 

And  there  came  a  fire  out  from  before  the  Lord, 
and  consumed  upon  the  altar  the  burnt-offering 


116 


JEWISH  FESTIVALS. 


and  tlie  fat :  wliicli  wlien  all  the  23eople  saw,  they 
shouted,  and  fell  on  their  faces. 

It  appears  that  Aaron  and  those  Israelites  who  were  not  de- 
stroyed on  account  of  their  idohatry  in  worshipping  the  golden 
calf,  offered  burnt-offerings  to  appease  the  Divine  displeasure. 
!Moses  and  Aaron  went  into  the  tabernacle  of  the  congregation, 
and  returning,  blessed  the  people.  A  fire  issued  from  before  the 
Lord  and  consumed  the  burnt-offering  upon  the  altar.  When 
the  people  s.iw  this  wonderful  display  of  the  power  and  glory 
of  God,  they  shouted  and  fell  upon  their  faces  in  astonishment. 

Shouted. — ^'"yU^P'^^\':i  fi'om  ^y^i  fcinun,  to  give  forth  a 

tremulovs  soinid,  to  shake  or  trill  the  voice,  hence,  to  utter  inar- 
ticulate cries  of  jcKj,  to  shout.  In  this  instance,  the  Israelites 
probably  shouted  for  joy,  because  the  Lord  had  again  appeared 
merciful  to  them — ready  to  forgive  their  iniquities. 

Leviticus,  xxlii.  24. 

Speak  unto  the  children  of  Israel,  saying,  in  the 
seventh  m'.>nth.  in  the  first  day  of. the  month,  shall 
ye  have  a  saljoath,  a  memorial  of  blowing  of  trum- 
pets, an  holy  convocation. 

This  passage  refers  to  one  of  the  annual  festivals  of  the  Jews. 
There  were  three,  viz. :  the  Passover,  the  feast  of  Pentecost,  and 
that  of  the  Tohernacles.  To  these  ]\Ioses  added  two  others 
which  were  celebrated  with  great  solemnity,  though  all  of  the 
Israelites  wore  not  required  to  be  present.  The  first  of  those 
added  by  Moses,  was  the  Feast  of  Trun-ipets,  and  the  second, 
that  of  Expiation  or  Atonement. 

In  the  passage  before  us,  reference  is  made  to  the  Feast  of 
Trumpets,  which  vras  celebrated  on  the  first  and  second  days  of 
the  month  Tisri  (a  part  of  our  September  and  October),  which 


LEVITICUS,  XXV.  9. 


117 


■was  the  commencement  of  the  civil  year  of  the  Jews.  Trum- 
pets were  blown  in  the  temple  with  more  than  usual  solemnity, 
and  from  this  circumstance  the  feast  took  its  name  (Num.  xxix. 
1).  On  this  occasion,  the  people  abstained  from  all  labor 
(Lev.  xxiii.  2.3),  and  offered  special  sacrifices  to  God,  as  described 
in  Num.  xxix.  1-6. 

Blowing  of  trumpets. — The  original  word  here,  is  n>"iiri 
i^ruah^  from  3?r-|  riiah^  the  same  as  that  from  which  the 
■word  translated"  "  shouted,"  in  Ex.  xxxii.  17,  is  derived.  It 
means  to  cry  aloud,  and  sometimes,  to  sound  a  irumjjei,  as 
in  this  place.  Its  literal  signification  is  blowing  (trumpets 
being  implied).  In  Num.  x.  9,  the  word  for  trumpets  is  ex- 
pressed (vid.  Rem.  on  Ex.  xxxii.  17,  supra).  It  is  probable 
that  the  trumpets  were  blown  much  of  the  time  during  this 
feast  as  it  received  its  name  from  that  circumstance,  and  as  may 
be  inferred  from  Num.  xxix.  1.  Reference  is,  doubtless,  here 
made  to  the  straight  trumpet.  The  silver  ones  constructed  by 
the  command  of  Closes,  were,  undoubtedly  of  the  same  kind, 
and  made  between  the  fourteenth  day  of  the  first  month  and  the 
twentieth  day  of  the  second  month  (Num.  ix.  1,  5;  x.  11),  in 
the  second  year  after  the  Israelites  left  the  land  of  Egypt,  or 
about  1489  B.  C.  Before  the  twentieth  day  of  the  second  month 
Moses  was  commanded  to  make  the  two  silver  trumpets  and  the 
probability  is  that  he  immediately  commenced  the  work,  so  as 
to  have  them  ready  before  the  Israelites  should  proceed  on  their 
journey  from  the  wilderness  of  Sinai  (Num.  x.  1-12). 

The  passage  under  consideration  (Lev.  xxiii.  24.),  refers  to  a 
feast  which  was  to  be  celebrated  the  seventh  month  of  the  same 
year.  The  trumpets  were  undoubtedly  ready  before  that  time, 
so  that  the  reference  must  have  been  to  the  straight  trumpets. 

LEviTicrs,  XXV.  9. 


Tlien  shalt  tliou  cause  tlie  trumpet  of  the  jubilee 
to  sound,  oil  the  tenth  clay  of  the  seventh  month,  in 


118 


YEAR  OF  JUBILEE. 


tlie  day  of  atonement  sliall  ye  make  tlie  trumpet 
sound  tlirougliout  all  your  land. 

This  passage  refers  to  a  special  festival  of  the  Jews.  Besides 
their  annual  feasts  they  had  two  extraordinary  ones,  viz :  the 
Sabbatical  year  and  the  year  of  jubilee.  Every  seventh  year  was 
considered  as  a  sabbatical  one  and  was  carefully  observed  as 
such.  Every  seventh  sabbatical  year  was  the  year  of  jubilee. 
This  was  kept  as  a  Sabbath  and  considered  more  solemn  and  im- 
portant than  the  sabbatical  year.  It  is  the  year  of  jubilee  to 
which  reference  is  made  in  the  passage  before  us.  At  the  com- 
mencement of  the  year  the  jubilee  trumpet  was  sounded  through- 
out the  land. 

Trumpet. — '^gV^^)  shophdr,  the  same  word  which  is  used  in 
<  - 

Ex.  xix.  16,  and  evidently  referring  to  the  crooked  trumpet^  made 
of  the  horn  of  an  ox  or  ram.  It  was  first  made  of  the  former  and 
afterwards  of  the  latter  (vid.  Rem.  on.  Ex.  xix.  16).  In  the  latter 
part  of  the  verse  reference  is  made  to  the  same  instrument. 


NUMBERS,  X.  2. 


119 


NUMBERS,  OR  THE  FOURTH  BOOK  OF  MOSES. 

INTRODUCTORY  REMARKS. 

The  Alexandrine  translators  call  tliis  book  API0MO1 
ai^ithmoi^  numbers^  and  the  Latin  translators,  Numeric  num- 
hers.  This  term  is  adopted  in  our  English  version.  It  was 
probably  written  by  Moses  on  the  plains  of  ^foab  (xxxvi. 
13),  just  before  his  death,  about  1451  B.  C.  The  last  event 
narrated  in  the  book  occurred  during  the  time  which 
elapsed  between  1152  and  1151  B.  C,  and  it  must,  of 
course,  have  been  after  the  occurrence  of  the  events  de- 
scribed that  their  history  was  written.  But  the  death  of 
Moses  is  supposed  to  have  occurred  near  the  close  of  the 
year  1451  B.  C.  Therefore  it  is  very  probable  that  the 
lawgiver  composed  this  book  some  time  during  that  year. 
It  contains  a  history  of  the  Israelites  from  the  beginning 
of  the  second  month  of  the  second  year  after  the  departure 
from  Egypt  to  the  commencement  of  the  eleventh  month 
of  the  fortieth  year  of  their  journeyings,  which  was  a  period 
of  thirty  eight  years  and  nine  or  ten  months  (cf  Num.  i., 
and  xxxvi.  13  with  Deut.  i.  3).  Most  of  the  events  re- 
corded, occurred  in  the  second  and  thirty-eighth  years  of 
that  peroid.  The  dates  of  the  events  described  in  the 
middle  of  the  book,  cannot  with  certainty,  be  determined. 

Numbers,  x.  2. 

Make  thee  two  trumpets  of  silver ;  of  a  whole 
piece  shalt  thou  make  them  ;  that  thou  may  est  use 


120 


HEBREW  SILVER  TRUMPETS. 


tliem  for  tlie  calling  of  tlie  assembly,  and  for  the 
journeying  of  tlie  camps. 

Trumpets. — There  seems  to  have  been  a  great  improvement  in 
the  trumpets  here  mentioned.  God  commanded  that  two  should 
be  made  of  silver.  They  are  designated  by  a  Hebrew  term  dif- 
ferent from  any  which  we  have  previously  considered.  It  is 
til!^i^n  hli^Ubh^i-oth^  a  verbal  noun  from  *i^n  l^hatsdr^  the 

:         - :  -    T  " 

same  as  the  Arabic  hh^tsdr^  to  be  2^resent.   In  the  Hebrew 

Pael  conjugation,  it  signifies,  to  call  together^  which  was  done 
by  a  trumpet.  Hence,  it  was  subsequently  used  to  signify  the 
instrument  itself  The  sound  of  the  word  in  pronunciation  was 
doubtless  intended  to  imitate  the  sound  of  the  instrument,  like 
the  Latin  taratantara  and  the  German  trarora.  It  appears  that 
this  instrument  was  used  particularly  for  calling  together  an  as- 
sembly, and  as  a  signal  for  the  moving  of  the  camps  of  Israel, 
as  in  the  case  before  us. 

The  silver  trumpet  was  to  be  blown  only  by  the  priests 
(Num.  X.  8 ;  1  Chron.  xv.  24).  T.  H.  Home  believes  this  to  be 
the  straight  trumpet.  Jahn  remarks  that  it  was  decidedly  differ- 
ent from  the  shophqr  and  was  made  of  metal.  Josephus  asserts 
that  it  w^as  straight,  about  an  ell  {cubitus)  in  length  and  a  little 
thicker  than  a  flute.  In  this  form  are  four  hatsotseras  in  the 
sports  (Annal.  Syr.  Table  xviii)  engraved  on  two  coins.  The 
following  cut  (Fig.  XXXI)  is  a  representation  of  two  of  them 
(vid.  p.  109,  supra).  The  opening  at  the  top  is  sufficiently  large 
for  blowing  conveniently  with  the  mouth  ;  but  at  the  bottom  it  is 


Fig.  XXXI. 


larger  and  bell  shaped  like  our 
trumpet. 


Two  Hebrew  Hntmtseraa,  or  Straight 
Trumpets  engraved  on  an  ancient  coin. 


The  following  cut  (Fig. 
XXXII)  represents  another  an- 
cient coin,  just  mentioned,  ta- 
ken from  the  "  sports,''  contain- 
ing two  more  trumpets  similar 
to  those  given  above. 


NUMBERS  X.  4. 


121 


Jahn  does  not  doubt  that 

Fig.  XXXII. 


Two  other  ITatsotneras,  or  Straight  Trurti- 
pets  engraved  on  another  ancient  coin. 


silver  trumpets  of  Moses  were 
of  this  kind.  Josephus  in- 
forms us  that  Solomon  in- 
creased the  number  of  these 
instruments  to  200,000  (Ant. 
viii.  iii.  8).  They  seem  to 
have  been  constructed  of  one 
piece  of  silver,  and  without 
holes  for  the  fingers  as  in 
modern  trumpets, 


Numbers,  x.  3. 

And  when  they  shall  blow  with  them,  all  the  as- 
sembly shall  assemble  themselves  to  thee  at  the 
door  of  the  tabernacle  of  the  congregation. 

Blow. — :i3?pfl  ictq^H,  from  5?pJ^         io  strike^  to  strike  the  trum- 

pet^  i.  e.,  to  give  a  blast.  A  different  word  in  the  original  was 
used  when  an  alarm  was  to  be  sounded.  Gesenius  thinks  that 
there  was  but  one  blast  when  the  people  were  to  be  called  to- 
gether, as  in  this  place. 


Numbers,  x.  4. 

And  if  they  blow  but  with  one  trumpet,  then  the 
princes,  which  are  heads  of  the  thousands  of  Israel, 
shall  gather  themselves  unto  thee. 

Blow. — The  same  original  word  is  here  used  as  in  the  pre- 
ceding verse,  indicating  according  to  Gerenius,  that  there  was 
but  one  blast.  Trumpet  is  supplied  in  the  translation  and  does 
not  appear  in  the  Hebrew.  Reference  is  made  to  the  same 
species  of  trumpet  as  in  the  previous  verse.  It  appears  that  the 
6 


122 


TRUMPET  BLASTS  OF  ALARM. 


Israelites  gave  various  signals  \yith  these  instruments.  One  blast 
of  the  trumpets  called  the  assembly  together  as  we  have  inti- 
mated— one  blast  of  one  trumpet  called  together  the  princes  of 
thousands,  and  other  signals  indicated  the  time  for  marching  and 
for  alarms. 

NUMBEES,  X.  5, 

When  ye  blow  an  alarm,  tlien  the  camps  tliat  lie 
on  the  east  parts  shall  go  forward. 

Here  was  another  signal  given  by  the  trumpet  for  a  ^;a?7  of 
the  people  to  move  forward. 

Bloiv  an  alarm. — The  original  of  "  hloiv^'"^  is  derived  from  the 
same  Hebrew  word  as  that  of  "  blow,'^''  in  the  two  preceding 
verses.     The  original  of  the  word  "  alarm'"'  is  n^^UTl 

at: 

which  in  Ex.  xxxii.  17,  means  a  shout  of  joy  (vid.  Rem.  on  xxxii. 
17),  and  in  Lev.  xxiii.  24,  the  hloiving  or  sounding  of  trumpets  (vid. 
Rem.  on  that  passage).  Here  it  seems  to  mean  a  sounding  of 
trumpets  in  a  peculiar  manner,  perhaps  louder  and  more  suddenly 
than  usual,  something  like  .a  war-sound,  so  as  to  raise  an  alarm. 
The  Septuagint  has  (37]\iaoiav  seemasian^  signal^  alarm. 

NUMBEES,  X.  6. 

"When  ye  blow  an  alarm  the  second  time,  then 
the  camps  tliat  lie  on  the  south  side  sliall  take 
their  jom^ney:  they  shall  blow  an  alarm  for  their 
journeys. 

Blow  an  alarm. — The  same  original  words  are  used  here  as 
in  the  preceding  verse,  and  it  is  reasonable  to  conclude  that  the 
same  kind  of  signal  was  given ;  but  it  was  distinguished  from 
the  other,  in  that  it  was  the  second  blast  of  alarm.    A  similar 


NUMBERS  X.  6. 


123 


expression  occurs  in  the  last  p.irt  of  the  verse,  the  original 
word  being  the  same  excepting  that  the  person  is  changed. 

"  They  shall  blow  an  alarm.''' — The  Alexandrine  translators  sup- 
plied what  they  supposed  to  be  the  ellipsis,  and  instead  of  say- 
ing, "  They  shall  blow  an  alarm  for  their  journeys  ;"  rendered  the 
phrase  as  follows :  "  Ye  shall  blow  an  alarm  the  third  time, 
then  the  camps  that  lie  on  the  west  side  shall  take  their  journey, 
and  ye  shall  blow  an  alarm  the  fourth  time,  then  the  camps  that 
lie  on  the  north  side  shall  take  their  journey :  they  shall  blow 
an  alarm  for  their  journey."  It  is  probable  that  there  was  a 
special  sound  of  alarm  for  each  division  that  moved  forward. 
While  the  Israelites  were  in  the  wilderness  the  form  of  their 
camp  according  to  Num.  ii,,  seems  to  have  been  quadrangular, 
having  three  tribes  on  each  side,  under  one  general  standard,  but 
so  arranged  as  to  inclose  the  tabernacle,  which  stood  in  the  centre. 
The  priests  and  Levites  pitched  four  smaller  camps  between  the 
four  principal  ones  and  the  tabernacle.  Moses,  Aaron,  and  his  sons, 
who  were  the  ministering  priests  and  had  charge  of  the  sanctuary, 
pitched  their  camp  on  the  east  side  of  the  tabernacle,  near  its  en- 
trance. Every  family  and  household  had  their  particular  en- 
signs, under  which  they  marched  or  encamped.  The  Eabbins 
inform  us  that  the  standard  of  Judah  was  a  lion,  that  of  Reuben 
the  figure  of  a  man,  of  Ephraim  an  ox,  and  of  Dan  an  eagle  with 
a  serpent  in  his  talons,  but  this  is  mere  conjecture.  It  is  far 
more  probable  that  they  had  standards  with  the  names  of  their 
respective  tribes  embroidered  in  large  letters  upon  them.  The 
Jewish  encampment  was  arranged  in  excellent  order.  The  fol- 
lowing diagram  from  Dr.  A.  Clarke  gives  a  tolerably  correct 
view  of  it.  It  will  be  observed  that  the  Tabernacle  is  in  the 
centre;  Moses,  Aaron,  and  the  Priests  are  encamped  immedi- 
ately east  of  the  sacred  enclosure ;  the  Merarites  on  the  north, 
the  Gershonites  on  the  west,  and  the  Kohathites  on  the  south. 
A  little  farther  distant  on  the  east  stand  the  hosts  of  Judah,  on 
the  north  Dan,  on  the  west  Ephraim,  and  on  the  south  Reuben. 
Farthest  from  the  Tabernacle,  in  the  same  order,  stand  the 
Grand  Divisions. 


124 


PLAN  OF  THE  JEWISH  ENCAMPMENT. 


EAST. 


186,400  men, 
First  Grand  Division. 


JUDAH, 

74,600. 
IssACHAR,  and  Zebulon, 
54,400.  57,400. 


p.  oi  rt 


Moses,  Aaron, 
and  the  Priests, 


'029  S 

'saxixoiisa^jc) 


•oo^'Qg  'oor/ss 

'OOQ'Of' 


'  'ugra  00I'80I 


The  order  of  march  was  somewhat  similar  to  that  of  cara- 
vans or  assemblages  of  oriental  travelers  at  the  present  day.  It 
was  arrranged  as  follows  (vid.  Num.  x.) :  when  they  were  to 
remove  (the  rising  of  the  cloud  from  the  tabernacle  being  the 
miraculous  signal)  the  trumpets  were  sounded  by  the  sons  of 
Aaron,  and  at  the  first  alarm,  the  standard  of  Judah  was  raised 
and  its  three  tribes  moved  forward.  Then  the  Levites  took 
down  the  tabernacle,  the  Gershonites  and  Merarites  (two  fami- 
lies of  the  Levites)  attending  the  wagons  with  the  boards,  staves, 
and  other  implements.  After  all  of  these  had  commenced 
their  march  a  second  alarm  was  sounded  by  the  trumpets  and 
the  standard  of  Reuben  advanced  with  the  three  tribes  under 


NUMBERS  X.  7. 


125 


it.  Then  the  Kohathites  (the  third  family  of  the  Levites)  bear- 
ing the  Sanctuary  or  Holy  of  Holies  and  its  utensils,  moved  on. 
This  sacred  treasure,  being  regarded  as  more  holy  than  other 
parts  of  the  tabernacle,  was  not  placed  in  wagons,  but  carried 
upon  the  shoulders  of  persons  designated  for  the  service.  Next, 
the  standard  of  Ephraim  was  raised  and  the  accompanying  tribes 
advanced.  Finally,  the  three  tribes  of  Dan  formed  the  rear  of 
the  imposing  procession.  !Moses  and  Aaron  supermteuded  the 
whole  and  were  careful  that  everv  thinn;  was  arran"[ed  in  accord- 
ance  with  the  Divine  command.  Before  the  silver  trumpets 
were  made,  probably  the  crooked  ones  were  sounded,  and  as  but 
two  silver  ones  were  at  first  constructed,  perhaps  others  of  the 
more  ancient  kind  were  used  at  the  same  time,  until  the  number 
of  the  straight  trumpets  was  sufficiently  augmented.  There 
must  have  been  something  peculiarly  grand  and  terrific  in  the 
march  of  the  Israelites  as  they  moved  off,  the  cloud  passing  be- 
fore them  by  day  and  a  pillar  of  fire  by  night.  As  the  cloud 
arose  from  the  tabernacle  when  they  were  departing,  as  the  trum- 
pets sounded  the  alarm  and  as  that  vast  army  of  more  than  three 
millions  marched  onward  with  their  banners  floating  in  the 
breeze,  their  appearance  must  have  impressed  the  beholder  with 
feelings  of  awe  and  admiration. 


NUMBEES,  X.  7. 

But  when  the  cons^reofation  is  to  be  feathered  to- 
gether,  }'e  shall  blow,  but  ye  shall  not  sound  an 
alarm. 

This  is  similar  to  the  third  verse  of  this  chapter,  intimating 
that  when  the  congregation  was  to  be  assembled,  the  trumpets 
were  to  be  blown,  but  no  alarm  sounded. 


126 


JEWISH  TEUMPETERS. 


Numbers,  x.  8. 

And  the  sons  of  Aaron,  tlie  priests,  shall  blow 
with  the  trumpets ;  and  they  shall  be  to  you  for  an 
ordinance  for  ever  throughout  your  generations. 

Here  is  evidence  of  the  fact  that  the  sons  of  Aaron  were  the 
individuals  designated  to  blow  the  trumpets.  The  same  orig- 
inal word  is  used  as  in  verse  second,  referring  to  the  straight 
instrument. 

Numbers,  x.  9. 

And  if  ye  go  to  war  in  your  land  against  the 
enemy  that  oppresseth  you,  then  ye  shall  blow  an 
alarm  with  the  trumpets ;  and  ye  shall  be  remem- 
bered before  the  Lord  your  God,  and  ye  shall  be 
saved  from  your  enemies. 

It  seems  that  in  all  cases  of  calamity  and  danger  from  their 
enemies  the  Israelites  were  to  blow  the  trumpets — blow  an  alarm 
— and  Jehovah  promised  assistance.  This  was  a  positive  com- 
mand, from  the  observance  of  which  there  could  not  be  the 
slightest  departure  without  incurring  the  Divine  displeasure. 

In  the  preceding  verse  it  is  said  that  the  blowing  of  the  trum 
pets  should  be  for  an  ordinance  for  ever  throughout  their  gener- 
ations, thus  intimating  that  future  generations  were  to  observe 
the  same  directions,  i.  e.,  that  they  were  to  blow  the  trumpets  as 
a  signal  for  God  to  interpose  in  their  behalf. 


Numbers,  x.  10. 
Also  in  the  day  of  your  gladness,  and  in  your 


NUMBERS  XXI.  17,  18. 


127 


solemn  clays,  and  in  the  beginnings  of  your  months, 
ye  shall  blow  with  the  trumpets  over  your  burnt- 
offerings,  and  over  the  sacrifices  of  your  peace-of- 
ferings ;  that  they  may  be  to  you  for  a  memorial 
before  your  God  :  I  am  the  Lord  your  God. 

There  seems  to  be  a  reference  here  to  the  festivals  of  the  Jews, 
The  trumpets  were  to  be  blown  "  as  a  memorial"  or  to  remind 
the  Israelites  that  God  had  promised  to  bless  them  provided  they 
were  careful  to  observe  his  commandments. 

NuMBEKS,  xxi.  17,  18. 

Then  Israel  sang  this  song. 

Spring  up,  0  well ;  sing  ye  unto  it : 

The  princes  digged  the  well, 

The  nobles  of  the  people  digged  it, 

By  the  direction  of  the  Lawgiver,  with  their  staves. 

This  lyric  poetry  was  sung  by  the ,  Israelites,  when,  during 
their  journeyings  in  the  wilderness,  they  had  reached  Beer  or  the 
Well.  It  seems  to  have  been  a  song  of  joy,  in  view  of  the  fact 
that  water  had  been  found.  On  their  way  to  the  promised  land 
they  passed  through  several  dry  and  sandy  deserts  where  travel- 
ers oflen  suffer  exceedingly  from  thirst.  When  the  Israelites 
were  in  the  desert  of  Zin  (Num.  xx)  they  experienced  great  dis- 
tress from  thirst  and  Moses  smote  the  rock  and  waters  gushed 
forth.  The  desert  of  Arabia  extends  from  the  Red  Sea,  an  arm 
of  which  the  children  of  Israel  crossed,  to  the  land  of  Canaan, 
whither  they  were  bound.  Moses  calls  it  a  "  waste,  howling 
wilderness"  (Deut.  xxxii.  11.  10).  Also,  "  that  great  and  terrible 
wilderness,  wherein  w^ere  fiery  serpents,  and  scorpions,  and 
drought,  where  there  was  no  water"  (Deut.  viii.  15).  Jeremiah 
calls  it  "  a  land  of  deserts  and  of  pits,  a  land  of  drought,  and  of 


128 


TERROKS  OF  AN"  EASTERN  DESERT. 


the  shadow  of  death,  a  land  that  no  man  passed  through,  and 
where  no  man  dwelt"  (Jer.  ii.  6).  The  distinguished  traveler, 
M.  Belzoni,  after  having  passed  through  a  desert  in  Upper  Egypt, 
on  the  western  side  of  the  Eed  Sea,  remarks :  "  Generally  speak- 
ing, in  a  desert  there  are  few  springs  of  water,  some  of  them  at 
the  distance  of  four,  six  and  eight  days' journey  from  one  another 
and  not  all  of  sweet  water ;  on  the  contrary,  it  is  generally  salt 
or  bitter ;  so  that,  if  the  weary  traveler  drinks  of  it,  his  thirst  is 
augmented,  and  he  suffers  more  than  before.  But,  when  the  ca- 
lamity happens,  that  the  next  well,  which  is  so  anxiously  sought 
for  is  found  dry,  the  misery  of  such  a  situation  cannot  be  well 
described.  The  camels,  w^hich  afford  the  only  means  of  escape, 
are  so  thirsty,  that  they  cannot  proceed  to  another  well,  and  if 
the  travelers  kill  them  to  extract  the  little  liquid  which  remains 
in  their  stomachs,  they  themselves  cannot  advance  any  farther. 
The  situation  must  be  dreadful  and  admits  of  no  resource. 
Many  perish  vicii?ns  of  the  most  horrible  thirsty* 

The  Israelites  were  in  the  great  Arabian  desert  when  they  ar- 
rived at  Beer,  having  suffered  many  times  from  thirst  and  other 
causes.  Just  before  they  reached  this  place  they  had  probably 
been  distressed  for  want  of  water,  but  at  last  they  came  to  the 
favored  spot  where  they  could  quench  their  parching  thirst.  Of 
course,  the  occasion  must  have  been  a  joyful  one,  and  worthy  to 
be  celebrated  with  songs  of  joy.  The  subject  of  their  rejoicing 
seems  to  have  been  the  discovery  of  a  well,  indicating  that  their 
approach  to  water  was  the  grand  cause  of  their  joy. 


NuMBEES,  xxiii.  21. 

He  hatli  not  beheld  iniquity  in  Jacob,  neither 
hath  he  seen  perverseness  in  Israel :  the  Lord  his 

*  Belzoni's  Narrative  of  his  Operations  and  Researches  in  Egypt,  etc., 
pp.  341-3. 


NUMBERS  XXIX.  1. 


129 


God  is  with  liirn,  and  the  shout  of  a  king  is  among 
them. 

These  are  the  words  of  Balaam  while  uttering  to  Balak  what 
the  Lord  had  revealed  to  him  concerning  Israel.  Although  Ba- 
lak desired  Balaam  to  curse  Israel,  the  latter  informed  him  that 
he  could  not  comply  with  his  wishes  without  Divine  permission. 
On  the  contrary,  he  spoke  in  the  highest  terms  of  the  Israelites, 
declaring  that  the  Lord  was  with  them  and  that  the  shout  of  a 
king  was  among  them. 

Shout. — The  original  word  here  has  the  same  derivation  as 
that  in  Ex.  xxxii.  17,  translated  shouted.  It  probably  means 
here  a  warlike-shout,  as  in  Josh.  vi.  16  and  I  Sam.  xvii.  20. 

!N"UMBERS,  Xxix.  1. 

And  in  the  seventh  month,  on  the  first  day  of 
the  month,  ye  shall  have  an  holy  convocation ;  ye 
shall  do  no  ser\dle  work  :  it  is  a  .day  of  blowing  the 
trumpets  unto  you. 

This  refers  to  an  annual  festival  of  the  Jews,  called  the  Feast 
of  the  Trumpets. 

Blowing  the  trumpets. — The  Hebrew  term  is  Hj^^^STI  t^^^f^t 

IT  : 

blowing,  the  word  for  trumpets  being  implied,  as  in  Lev.  xxiii. 
24  (vid.  Rem.  on  that  passage). 

NlDIBEES,  XXxi.  6. 

And  Moses  sent  them  to  the  war,  a  thousand  of 
every  tribe,  them  and  Phinehas  the  son  of  Eleazar 
the  priest,  to  the  war,  with  the  holy  instruments, 
and  the  trumpets  to  blow  in  his  hand. 


130 


HEBREW  TRUMPETS. 


It  appears  that  God  directed  Moses  to  take  a  thousand  men 
from  each  tribe  of  the  Israelites  and  march  against  the  hosts  of 
Midian.  He  did  accordingly,  and  sent  Phinehas  the  son  of 
Eleazar  the  priest,  with  the  holy  instruments  to  accompany  them. 

The  trum'pets  mentioned  are  doubtless  the  same  as  those 
named  in  the  tenth  chapter  of  Numbers,  as  the  same  original 
word  is  used  m  both  places.  They  were  undoubtedly  the  straight 
trumpets. 


DEUTEROXOMY,  OR  THE  FIFTH  BOOK  OF  MOSES. 


IXTRODUCTORY  RElNrARKS. 

The  term  Deuteronomy  is  taken  from  the  Greek  AETTE- 
PONOMION,  deuteronomioii,  signifying  the  second  law.  It 
was  thus  called  because  it  contains  a  second  statement  of 
the  laws  which  Moses  had  formerly  promulgated  to  the  Is- 
raelites. By  comparing  Deut.  i.  1,  5,  with  Deut.  xxxiv.  1, 
5,  it  appears  that  the  Lawgiver  wrote  the  book  just  before 
his  death,  while  on  the  plains  of  Moab.  From  the  fact  that 
his  death  is  recorded  in  the  last  chapter  and  that  some  ex- 
planatory words  are  inserted  in  other  parts  of  the  book,  it 
has  been  maintained  by  some  that  Moses  could  not  have 
composed  it,  as  he  could  not  have  recorded  his  own  death. 
But  it  should  be  observed  that  his  narration  evidently  con- 
cludes with  the  thirty-third  chapter,  and  the  thirty-fourth 
was  undoubtedly  added  to  complete  the  history.  The  first 
eight  verses  of  it  were  probably  written  by  his  successor, 
Joshua,  immediately  after  Moses'  death,  and  the  last  four 
by  some  later  historian,  probably  Samuel,  Ezra,  or  some 
prophet  who  succeeded  Samuel.  It  should  also  be  noticed 
that,  what  is  now  the  last  chapter  of  Deuteronomy,  was 
formerly  the  first  chapter  of  Joshua.  It  was  placed  at  the 
end  of  the  former  as  a  kind  of  supplement  to  the  book. 

Deuteronomy  comprises  the  transactions  in  reference  to 
the  Israelites  daring  five  lunar  weeks,  or,  according  to  some 
chronologists,  two  months,  from  the  first  day  of  the  elev- 
enth month  of  the  fortieth  year  after  their  departure  from 
Egypt,  to  the  eleventh  day  of  the  twelfth  month  of  the 
same  year,  or  B.  C.  1451. 


132 


EASTERN"  POETRY  AND  MUSIC. 


The  object  of  tlie  book  seems  to  have  been  to  repeat  to 
the  Israelites,  before  their  great  Lawgiver  should  leave 
them,  the  principal  enactments  which  God  had  commanded 
them  to  observe.  Moses,  with  great  solicitude,  speaks  to 
his  brethren,  and  endeavors  to  furnish  them  with  such  in- 
structions as  would  best  prepare  them  for  the  promisee 
land  to  which  they  were  journeying. 

■  Deuteeot^omy,  xxxi.  19. 

NoTV  therefore  write  ye  tliis  song  for  you,  and 
teach  it  the  children  of  Israel:  put  it  in  their 
mouths,  that  this  song  may  be  a  witness  for  me 
against  the  children  of  Israel. 

In  this  book  there  are  no  references  to  musical  instruments 
and  few  allusions  to  music. 

Song. — The  original  word  is  l^^i'^tl)  ^ong,  the  same  as 

T 

that  used  in  Num.  xxi.  17  and  translated  song.  Here  it  refers 
to  Moses'  directions  to  the  Israelites  just  before  his  death,  in  re- 
spect to  the  regulations  of  their  lives.  These  instructions  were 
probably  sung  and  their  recital  accompanied  by  instrumental 
music.  "VVe  learn  from  history,  that  in  the  early  ages  of  Greece, 
poetry  and  music  always  accompanied  each  other.  Prophecies 
and  even  speculative  dogmas  were  sung.*  It  was  so  to  some 
extent  among  the  ancient  Hebrews.  David's  poetry  contains 
many  moral  precepts  and  laws  for  the  direction  of  the  Israelites. 
The  same  was  true  in  respect  to  Moses.  Song^  in  the  latter  part 
of  the  verse  as  in  the  first  part,  refers  to  Moses'  farewell  address. 

*  Athenseus,  a  distinguished  Greek  historian,  informs  us  that  anciently  all 
laws  Divine  and  human,  exhortations  to  virtue,  a  knowledge  of  what  concerned 
the  gods  and  heroes,  the  lives  and  actions  of  illustrious  men,  were  written  iu 
verse,  and  sung  publicly  in  chorus  to  the  sound  of  instruments. 


DEUTERONOMY  XXXI.  21,  22,  80. 


133 


Deuteroxomy,  xxxi.  21,  22,  30. 

And  it  shall  come  to  pass,  wlien  many  evils  and 
troubles  are  befallen  them,  that  this  song  shall  tes- 
tify against  them  as  a  witness ;  for  it  shall  not  be 
forgotten  OHt  of  the  mouths  of  their  seed:  for  I 
know  their  imagination  which  they  go  about,  even 
now,  before  I  have  brought  them  into  the  land 
which  I  sware. 

Moses  therefore  wrote  this  song  the  same  day, 
and  taught  it  the  children  of  Israel. 

And  Moses  spake  in  the  ears  of  all  the  congrega- 
tion of  Israel  the  words  of  this  song,  until  they  were 
ended. 

The  term  song^  found  in  each  of  these  verses,  refers  to  Moses' 
last  song  and  address,  and  needs  no  firther  exphmation. 

Deuteeoxomy,  xxxii.  44. 

And  Moses  came  and  spake  all  the  words  of  this 
song  in  the  ears  of  the  people,  he,  and  Iloshea  the 
son  of  Xun. 

This  again  refers  to  the  Lawgiver's  farewell  address,  which 
immediately  precedes.  That  discourse  or  prophetic  ode  (con- 
tained m  Deut.  xxxii.  1-43),  as  we  have  already  intimated,  is 
evidently  lyric  poetry  and  was  probably  accompanied  in  its  de- 
livery by  instrumental  music. 

Deuteronomy  is  the  closing  book  of  the  Pentateuch,  and  con- 
tains a  history  of  the  grand  events  which  occurred  upon  the  earth 
during  the  first  2500  years  of  its  existence.    We  have  also,  in 


134  CLOSE  OF  THE  PENTATEUCH. 

these  writings,  an  imperfect  and  fragmentary  history  of  mUvSic 
and  musical  instruments  during  the  period  which  ehipsed  be- 
tween 2844  B.  C.  and  the  latter  part  of  the  year  1451  or  begin- 
ning of  1450  B.  C.  We  find  that  during  this  time,  various  mu- 
sical instruments  were  used  by  the  Hebrews.  They  seem  to 
have  been  familiar  with  the  harp^  organ  or  pipe  of  Pan  (vid.  Ex, 
XV.  20),  iahret  or  tambourine^  horn  or  crooked  trumpet  made  of 
cows'  or  rams'  horns,  and  the  straight  trumpet — five  instruments, 
contained  in  the  three  grand  classes,  viz :  stringed^  wind,  and 
percussion  instruments.  It  is  probable  that  there  were  varieties 
under  these  general  classes,  which  are  not  mentioned  in  the  sa- 
cred text.  ^Yhen  Miriam  the  prophetess  and  all  the  females 
among  the  Israelites  went  out  with  timbrels  in  their  hands  (Ex. 
XV.  20),  it  is  probable  that  they  had  varieties  of  that  instrument 
differing  more  or  less  from  each  other.  They  had  at  least  two 
kinds  of  trumpets,  viz.,  crooked,  including  two  varieties  (cows' 
and  rams'  horns),  and  straight  trumpets. 

There  are  also  in  the  Pentateuch  various  allusions  to  vocal 
music  sho\\ing  that  the  children  of  Israel  were  familiar  with  that 
as  well  as  with  instrumental  music.  Tliere  are,  in  those  remark- 
able w  ritings  about  thirty  passages  which  relate  to  vocal  or  in- 
strumental or  both  vocal  and  instrmental  music.  There  are  also 
a  few  references  to  religious  dances. 


HISTORICAL  BOOKS. 


135 


HISTORICAL  BOOKS  OF  THE  OLD  TESTAMEXT. 

IXTEODUCTORY  REMARKS. 

The  twelve  historical  books,  including  Joshua,  Judges, 
Ruth,  First  and  Second  Samuel,  First  and  Second  Kings, 
First  and  Second  Chronicles,  Ezra,  Xehemiah,  and  Esther, 
immediately  follow  the  Pentateuch,  and  contain  a  record 
of  the  events  which  occurred  during  about  one  thousand 
years,  from  the  death  of  Moses,  in  the  latter  part  of  the 
year  B.  C.  1451,  to  the  time  of  the  great  national  reform 
effected  by  Xehemiah  after  the  Jews  had  returned  from 
captivity,  about  -120  years  B.  C. 

These  books  are  important  to  aid  in  understanding 
other  parts  of  the  sacred  volume.  Many  references  in  the 
prophecies  and  psalms  are  here  explained.  There  are 
also  various  incidental  notices  in  these  histories,  in  refer- 
ence to  the  state  of  surrounding  nations,  which  is  a  matter 
of  great  importance,  from  the  fact  that,  before  the  time  of 
Ezra  and  Xehemiah  (the  latest  Jewish  historians),  little,  if 
any  dependence  can  be  placed  upon  the  narratives  of 
heathen  writers.  The  two  earliest  profiine  histories  extant 
are  those  of  Herodotus  and  Thucydides,  whose  authors 
were  contemporary  with  Ezra  and  Xehemiah,  and  could 
not  with  any  certainty  describe  events  which  occurred 
long  before  their  time.  .  The  historical  books  of  the  Old 
Testament  should  not  be  considered  merely  as  containing 
an  account  of  the  Jews,  but  also  as  clearly  iUustrating  the 
dealings  of  God  with  the  whole  human  fi\mily.  They 
furnish  a  melancholy  but  impartial  view  of  the  depravity 
of  the  human  heart,  as  well  as  of  the  faithfulness  of  God 


136 


THE  BOOK  OF  JOSHUA. 


in  fulfilling  his  promises  to  his  people,  and  his  willingness 
to  extend  mercy  to  the  returning  penitent.  They  exem- 
plify the  excellence  of  the  Christian  religion,  and  its  ten- 
dency to  promote  the  happiness  of  those  who  confide  in 
it,  both  in  this  life  and  that  which  is  to  come. 

They  have  occasional  references  to  music,  both  vocal 
and  instrumental.  Several  new  instruments  are  mentioned 
showing  that  the  art  of  music  continued  to  be  cultivated, 
and  that  improvements  were  gradually  made  in  it. 


THE  BOOK  OF  JOSHUA. 

IKTEODUCTORY  REMARKS. 

This  book  takes  its  name  from  Joshua,  the  son  of 
Nun,  whose  achievements  it  narrates.  That  Israelitish 
chieftain  had  been  the  prime  minister  of  Moses,  and  suc- 
ceeded him  in  the  command  of  the  Hebrews.  Gerhard, 
Diodati,  Huet,  Aller,  Bishops  Patrick,  Tomline,  and  Gray, 
and  Dr.  A.  Clarke,  suppose  that  the  book  of  Joshua  is 
very  ancient,  and  was  originally  composed  by  him  whose 
name  it  bears. 

Dr.  Lightfoot  ascribes  it  to  Phineas,  Calvin  to  the  high 
priest  Eleazar,  Henry  to  Jeremiah,  and  Moldenhawer 
and  Yan  Till,  to  Samuel.  It  is  somewhat  uncertain  who 
was  its  author ;  still  it  appears  to  have  been  written  before 
the  seventh  year  of  David's  reign  (B.  C,  1212 ;  cf  Josh. 
XV.  63,  with  ii,  Sam.  v.  5-8),  showing  that  Ezra  could 
not  have  been  its  author,  as  some  suppose,  for  he  lived 
long  after  that  time. 

It  comprises  the  history  of  about  seventeen,  or,  as  some 


JOSHUA  VI.  4. 


t 

137 


tliink,  twenty-seven  or  thirty  years.  It  should  always  be 
connected  with  the  Pentateuch,  as  it  seems  to  be  a  con- 
tinuation and  completion  of  those  writings.  The  latter 
presents  a  history  of  the  acts  of  the  great  Hebrew  legisla- 
tor and  the  laws  upon  which  the  commonwealth  was 
established.  The  book  under  consideration  contains  the 
history  of  Israel  under  the  command  and  government  of 
Joshua ;  the  conquest  of  Canaan,  and  its  division  subse- 
quently among  the  Israelites,  and  the  provision  made  for 
the  settlement  and  establishing  of  the  Jewish  congregation 
in  Canaan. 

The  design  of  the  writer  seems  to  have  been  to  exhibit 
the  faithfulness  of  God  in  the  fulfilment  of  his  promise  to 
the  patriarchs,  that  the  children  of  Israel  should  possCvSS 
the  land  of  Canaan  ;  also,  to  show  forth  the  divine  power 
and  mercy  as  displayed  in  cherishing,  protecting,  and  de- 
fending his  people  amid  all  of  the  afflictions  which  they 
were  called  to  endure.  There  are  several  references  to 
music  in  the  book,  which  we  shall  consider  in  their 
proper  places.  Most  of  the  events  here  recorded  occurred 
after  Moses'  death  ;  but  some  of  them  probably  transpired 
during  the  year  1450  B.  C. 

Joshua  vi.  4. 

And  seven  priests  shall  bear  before  the  ark  seven 
trumpets  of  rams'  horns :  and  the  seventh  day  ye 
shall  compass  the  city  seven  times,  and  the  priests 
shall  blow  with  the  trumpets. 

Trumpets  of  rams^  horns. — The  Heb.  is  t^blZll'^rT  rillSltl' 

shopheroih  hdyyohhH'im^  trumpets  of  rams''  horns,  jubel  horns, 
or  trumpets ;  i.  e.,  the  same  kind  of  trumpets  as  those  used  at 


138 


JUBILEE  TRUMPET. 


the  jubilee.    Sometimes  "^Sl'tlJ  shophar  alone  means  crooJced 

T 

trumpet  (Ex.  xix.  16).  Also  some  form  of  Q^bill'^in  hdyyoh- 
hH'im^  is  used  to  denote  the  crooTced  trumpet^  without  the  help 
of  any  other  word  (Ex.  xix.  13),  but  usually  "^X^^  qeren,  horn^ 
precedes  it.  Here  both  words  are  employed  and  may  properly 
be  rendered  trumpets  of  rams'  liorns^  as  above.  The  expression 
t]"^blIli*^Jl  tlllSllli  shophhoih  hdyyobhHtm^  is  evidently  used 
in  the  same  sense  as  Q^i^nl'^n  'J^lp'  hayyohhHlm  ;^  i.  e., 

horn  of  the  Jubilee^  or  Jubilee  trumpet.  The  manner  in  which 
the  Israelites  marched  around  Jericho,  preceded  by  seven  priests 
bearing  seven  trumpets  before  the  ark,  must  have  been  pecu- 
liarly solemn  and  imposing.  They  were  to  pass  around  the 
city  once  a  day  for  seven  days  in  succession,  and  on  the  seventh 
to  encircle  it  seven  times,  and  the  priests  were  to  blow  with 
their  trumpets.  The  Hebrew  word,  translated  trumpets  in  the 
latter  part  of  the  verse,  is  shoph^roth,  evidently  referring  to  the 
same  instruments  as  those  mentioned  in  the  first  part  of  the 
verse. 

Joshua  vi.  5,  6,  8,  9,  10,  13,  16,  20. 

5  And  it  shall  come  to  pass,  that  when  they  make 
a  long  hlast  with  the  ram's  horn,  and  when  ye  hear 
the  sound  of  the  trumpet,  all  the  people  shall  shout 
with  a  great  shout ;  and  the  wall  of  the  city  shall 
fall  down  flat,  and  the  people  shall  ascend  up  every 
man  straight  before  him. 

6  And  Joshua,  the  son  of  Nun,  called  the  priests, 
and  said  unto  them.  Take  up  the  ark  of  the  cove- 
nant, and  let  seven  priests  bear  seven  trumpets  of 
rams'  horns  before  the  ark  of  the  Lord. 

*  Comp,  the  original  of  Joshua  vi.  6  with  this  passage.  Vid.  also  Ge- 
senius'  opinion,  p.  110  swpra. 


JOSHUA  VI.  5,  6,  8,  9,  10,  13,  16,  20.  139 

8  And  it  came  to  pass,  when  Joshua  had  spoken 
unto  the  people,  that  the  seven  priests  bearing  the 
seven  trumpets  of  rams'  horns  passed  on  before 
the  Lord,  and  blew  with  the  tninipets:  and  the 
ark  of  the  covenant  of  the  Lord  followed  them. 
9  And  the  armed  men  went  before  the  priests  that 
blew  with  the  trumpets,  and  the  rere-ward  came 
after  the  ark,  the  priests  going  on,  and  blowing 
with  the  trumpets.  10  And  Joshua  had  commanded 
the  people,  saying.  Ye  shall  not  shout,  nor  make 
any  noise  with  your  voice,  neither  shall  any  word 
proceed  out  of  your  mouth,  until  the  day  I  bid 
you  shout ;  then  shall  ye  shout. 

13  And  seven  priests  bearing  seven  trumpets  of 
rams'  horns  before  the  ark  of  the  Lord  went  on 
continually,  and  blew  with  the  trumpets :  and  the 
armed  men  went  before  them ;  but  the  rere-ward 
came  after  the  ark  of  the  Lord,  tlie  priests  going 
on,  and  blowing  with  the  trumpets. 

16  And  it  came  to  pass  at  the  seventh  time,  when 
the  priests  blew  with  the  trumpets,  Joshua  said 
unto  the  people.  Shout ;  for  the  Lord  hath  given 
you  the  city. 

20  So  the  people  shouted  when  the  priests  blew 
with  the  trumpets :  and  it  came  to  pass,  when  the 
people  heard  the  sound  of  the  trumpet,  and  the  peo- 
ple shouted  with  a  great  shout,  that  the  wall  fell 
down  flat,  so  that  the  people  went  up  into  the  city, 
every  man  straight  before  him,  and  they  took  the 
city. 


140 


TEUMPET  BLAST. 


These  verses  refer  to  the  same  event  ^vhich  is  mentioned  in 
Joshua  vi.  4. 

This  is  a  remarkable  instance  in  which  the  power  of  God  was 
manifested  by  the  instrumentality  of  feeble  means.  The  Is- 
raelites marched  around  Jericho  thirteen  times,  blowing  their 
rams'  horns,  and  finally  shouted,  when  the  walls  of  the  city  im- 
mediately fell  to  the  ground,  thus  strikingly  exhibiting  to  the 
enemies  of  Jehovah  his  irresistible  power  and  willingness  to 
bless  his  people  Israel. 

Verse  5.  Long  blast. — This  is  similar  to  the  expression 
soundeth  long!!''  in  Ex.  xix.  13.  The  occasions  upon  which 
both  were  uttered  were  very  solemn.  In  the  former,  Jehovah 
was  about  to  descend  upon  Mount  Sinai  and  deliver,  through 
his  servant  Moses,  to  the  children  of  Israel,  his  holy  law.  When 
the  trum'pet  sounded  long^  the  people  were  to  draw  near  to  the 
Mount.  The  sounding  of  the  trumpet  in  a  peculiar  manner  was 
a  signal,  indicating  that  the  Lord  was  about  to  perform  some 
memorable  achievement.  In  the  case  before  us,  after  all  other 
preliminary  arrangements  had  been  made,  the  seven  priests 
were  to  sound  a  long  blast  with  their  trumpets,  as  a  signal  for 
the  people  to  shov.t^  for  the  walls  to  fall,  and  for  the  city  to  sur- 
render— a  signal  indicating  that  Jehovah  was  about  to  make 
some  striking  manifestation  of  his  power. 

Yobhel  is  here  used  (verse  5),  and  a  little  further  on,  in  the 
same  verse,  shophar  for  the  same  instrument,  showing  that  they 
were  often  interchanged  with  each  other. 

Shout  with  a  great  shout. — This  evidently  refers  to  a  war 
shout.  When  the  trumpets  should  sound  a  long  blast,  the  peo- 
ple were  to  utter  the  war  shout  and  rush  on  to  victory.  Prob- 
ably the  trumpets  continued  sounding  after  the  Israelites  shout- 
ed, as  it  Avas  customary  in  those  early  times  for  armies,  when 
they  were  about  to  attack  their  enemies,  to  make  as  much  noise 
as  possible  by  shouting  and  sounding  instruments  of  music 
(vid.  Rem.  on  Ex.  xxxii.  17).  Shout  has  the  same  signification 
in  verses  10,  16,  and  20.  The  term  translated  trumpets,  oc- 
curring in  verses  6,  8,  9,  13,  16,  and  20,  is  either  yobhel  or 


JOSHUA  VI.  5,  6,  8,  9,  10.  13,  16,  20. 


141 


sJioph'-'r^  and  the  connection  shows  that  they  were  the  same  in- 
struments as  those  mentioned  in  verse  4,  viz.,  the  crooked  trum- 
pets. There  are  no  more  references  to  music  in  the  book  of 
Joshua.  All  of  the  allusions  to  it  are  to  the  crooked  trumpet, 
although  silver  straight  ones  had  been  made  before  that  time. 
The  latter,  however,  were  considered  as  sacred,  and  were  used  in 
the  temple  and  on  religious  occasions,  while  the  former  were 
employed  principally  in  war. 


142 


JUDGES  III.  27. 


THE  BOOK  OF  JUDGES. 

IXTRODUCTORY  RE:MAIIKS. 

This  book  contains  the  history  of  the  Israelites  from 
the  death  of  Joshua,  1M3  B.  C,  to  the  time  of  Eli,  about 
1146  B.  C,  comprising  a  history  of  nearly  300  years  (some 
make  it  a  few  years  longer)  under  the  administration  of 
thirteen  judges,  whom  God  raised  up  on  special  occasions 
to  deliver  his  people  from  their  enemies,  and  to  direct 
their  civil  and  ecclesiastical  polity.  The  Judges  frequently 
acted  by  divine  suggestions,  and  were  endowed  with  pre- 
ternatural strength  and  fortitude  (cf  Judg.  ii.  18 ;  vi.  14, 
34;  xi.  29;  xiv.  6, 19),  though  they  sometimes  abused  those 
endowments.  The  preternatural  gifts  of  God  we  believe 
are  as  liable  to  abuse  as  those  w^hich  he  bestows  in  the 
ordinary  course  of  nature.  There  is  some  difference  of 
opinion  in  reference  to  the  time  when  this  book  was  writ- 
ten ;  but  it  was  evidently  composed  before  David  captured 
Jerusalem  (cf  II  Sam.  v.  6,  with  Judges  i.  21). 

The  prophet  Samuel,  the  last  of  the  judges,  was  prob- 
ably the  author.  There  are  in  tbe  book  several  allusions 
to  music,  though  no  new  instruments  are  mentioned. 

Judges  iii.  27. 

And  it  came  to  pass  when  he  was  come,  that  he 
blew  a  trumpet  in  the  mountain  of  Ephraim,  and 
the  children  of  Israel  went  down  with  him  from 
the  mount,  and  he  before  them. 


JUDGES  V.  1-31. 


143 


It  appears  that  Ehud,  of  the  tribe  of  Benjamin,  had  delivered 
the  Israelites  from  the  tyranny  of  Eglon,  king  of  the  Moabites, 
by  taking  the  life  of  that  haughty  monarch.  Ehud  then  fled  to 
Seirath,  and  blew  a  trumpet  in  the  mountain  of  Ephraim.  It 
seems  that  the  blowing  of  that  instrument  was  a  signal  for  the 
Israelites  to  revolt.  They  immediately  assembled,  and  deter- 
mined to  follow  their  leader.  They  did  so,  and  conquered  the 
Moabites.  The  trumpet  which  that  revolutionary  chieftain  blew 
was  doubtless  the  crooked^  war-trumpet. 

Judges  y.  1-31. 

1  Then  sang  Deborah,  and  Barak,  the  son  of  Abi- 

noam,  on  that  day  saying, 

2  Praise  ye  the  Lord  for  the  avenging  of  Israel, 
When  the  people  willingly  offered  themselves. 

3  Hear,  O  ye  kings ; 
Give  ear,  O  ye  princes : 

I,  even  I,  will  sing  unto  the  Lord ; 

I  will  sing  praise  to  the  Lord  God  of  Israel. 

4  Lord,  when  thou  wentest  out  of  Seir, 

When  thou  marchedst  out  of  the  field  of  Edom, 
The  earth  trembled,  and  the  heavens  dropped, 
The  clouds  also  dropped  water. 

5  The  mountains  melted  from  before  the  Lord, 
J^veii  that  Sinai  from  before  the  Lord  God  of 

Israel. 

6  In  the  days  of  Shamgar,  the  son  of  Anath, 
In  the  days  of  Jael, 

The  highways  were  unoccupied. 

And  the  travelers  walked  through  by-ways. 

7  The  inhabitants  of  the  villages  ceased, 


144 


SONG  OF  DEBORAH  AND  BARAK. 


They  ceased  in  Israel, 
Until  that  I,  Deborah,  arose, 
That  I  arose  a  mother  in  Israel, 

8  They  chose  new  gods ; 
Then  was  war  in  the  gates : 

Was  there  a  shield  or  s]3ear  seen  among  forty 
thousand  in  Israel  ? 

9  My  heart  is  toward  the  governors  of  Israel, 
That  offered  themselves  willingly  among  the 

people. 
Bless  ye  the  Lord. 

10  Speak,  ye  that  ride  on  white  asses, 

Ye  that  sit  in  judgment,  and  walk  by  the  way. 

11  They  that  are  delivered  from  the  noise  of  arch- 

ers 

In  the  places  of  drawing  water, 
There  shall  they  rehearse  the  righteous  acts  of 
the  Lord. 

Even  the  righteous  acts  toward  the  inhabitants 

of  his  villages  in  Israel : 
Then  shall  the  j)eople  of  the  Lord  go  down  to 

the  gates. 

12  Awake,  awake,  Deborah : 
Awake,  awake,  utter  a  song : 

Arise,  Barak,  and  lead  thy  captivity  captive, 
Thou  son  of  Abinoam. 

13  Then  he  made  him  that  remaineth  have  domin- 

ion over  the  nobles  among  the  peo]3le : 
The  Lord  made  me  have  dominion  over  the 
mighty. 


JUDGES  V.  1-31. 


145 


14  Out  of  Ephraini  loas  there  a  root  of  them  against 

Amalek ; 

After  thee,  Benjarain,  among  thy  people; 
Out  of  Machir  came  down  governors, 
And  out  of  Zebulun  they  that  handle  the  pen 
of  the  writer. 

15  And  the  princes  of  Issachar  were  with  Deborah ; 
Even  Issachar,  and  also  Barak: 

He  was  sent  on  foot  into  the  valley. 
For  the  divisions  of  Beuben  there  were  great 
thoughts  of  heart. 

16  Why  abodest  thou  among  the  sheep-folds, 
To  hear  the  bleatings  of  the  llocks  ? 

For  the  divisions  of  Reuben  tliere  were  great 
searchini2f3  of  heart. 

17  Gilead  abode  beyond  Jordan : 
And  why  did  Dan  remain  in  ships  ? 
Asher  continued  on  the  sea-shore, 
And  abode  in  his  breaches. 

18  Zebulun  and  Xaphtali  loere  a  people  that  jeop- 

arded their  lives  unto  the  death 
In  the  high  places  of  the  field. 

19  The  kings  came  and  fought, 

Then  fought  the  kings  of  Canaan  in  Taamach 

by  the  waters  of  Megiddo ; 
They  took  no  gain  of  money. 

20  They  fought  from  heaven ; 

The  stars  in  their  courses  fought  against  Sisera. 

21  The  river  of  Kishon  swept  them  away, 

That  ancient  river,  the  river  Kishon. 
7 


146 


SONG  OF  DEBORAH  AND  BARAK. 


O  my  soul,  thou  liast  trodden  down  streugtli. 

22  Tlien  were  the  liorse-lioofs  broken  by  the  means 

of  the  prancings, 
The  prancings  of  their  mighty  ones. 
Curse  ye  Meroz,  said  the  angel  of  the  Lord, 

23  Curse  ye  bitterly  the  inhabitants  thereof; 
Because  they  came  not  to  the  help  of  the  Lord, 
To  the  help  of  the  Lord  against  the  mighty. 

24  Blessed  above  women  shall  Jael  the  wife  of 
Heber  the  Kenite  be, 

Blessed  shall  she  be  above  women  in  the  tent. 

25  He  asked  water,  and  she  gave  hi?n  milk: 
She  brought  forth  butter  in  a  lordly  dish. 

26  She  put  her  hand  to  the  nail. 

And  her  right  hand  to  the  workman's  hammer ; 
And  with  the  hammer  she  smote  Sisera, 
She  smote  off  his  head, 

When  she  had  pierced  and  stricken  through  his 
temples. 

27  At  her  feet  he  bowed,  he  fell,  he  lay  down : 
At  her  feet  he  bowed,  he  fell : 

Where  he  bowed,  there  he  fell  down  dead. 

28  The  mother  of  Sisera  looked  out  at  a  window. 
And  cried  through  the  lattice. 

Why  is  his  chariot  so  long  in  coming  ? 
Why  tarry  the  wheels  of  his  chariots  ? 

29  Her  wise  ladies  answered  her, 
Yea,  she  returned  answer  to  herself, 

30  Have  they  not  sjDed  ? 

Have  they  7iot  divided  the  prey  ; 


JUDGES  y.  1-31. 


147 


To  every  man  a  damsel  or  two ; 
To  Sisera  a  prey  of  divers  colors, 
A  prey  of  divers  colors  of  uee die-work, 
Of  divers  colors  of  needle-work  on  both  sides, 
Meet  for  the  necks  of  tlieni  tliat  tcike  the  spoil  ? 
31  So  let  all  thine  enemies  perish,  O  Lord : 
But  let  them  that  love  him  he  as  the  sun 
"When  he  o^oeth  forth  in  his  mio'ht. 

This  is  a  song  of  triumph  by  Deborah,  a  judge  of  Israel 
(the  only  female  ^\-ho  was  ever  elevated  to  that  office),  and 
Barak,  her  general,  who  had  delivered  her  people  from  the 
Canaanites  (Judges  iv.  5).  The  children  of  Israel  had  been 
oppressed  twenty  years  by  Jabin,  king  of  Canaan,  whose  cap- 
tain was  the  notorious  Sisera.  Being  thus  remarkably  deliv- 
ered from  their  enemies,  it  was  a  suitable  occasion  on  which  to 
triumph  and  celebrate  their  victory  by  song.  Deborah  was  a 
prophetess,  and  doubtless  received  intimations  from  Jehovah 
that  she  must  march  against  Jabin  (Judges  iv.  (»).  She  seems 
to  have  been  divinely  inspired  in  the  utterance  of  this  tri- 
umphal ode.  Bishop  Lowth  considers  it  as  an  admirable  speci- 
men of  the  sublime.  The  remarkable  display  of  the  divine 
majesty  which  had  been  witnessed  by  the  Israelites  on  Mount 
Sinai,  is  described  in  verses  fourth  and  fifth,  in  beautifully 
poetic  language,  and  is  impressively  contrasted  with  the  divine 
interposition  in  behalf  of  Israel.  K\\  nature  had  been  con- 
vulsed by  the  presence  of  the  Most  High.  The  thunders 
roared,  the  lightnings  flashed,  the  torrents  rushed  from  the 
clouds,  the  mountain  quaked  and  melted  from  before  the 
Loijd. 

This  ode  is  a  specimen  of  lyric  poetry.  It  was  mng^  ac- 
companied, probably,  by  musical  instruments. 

In  the  first,  third  and  twelfth  verses  the  Hebrew  word  usually 
translated  to  sing  is  employed.    In  the  third  verse  the  expres- 


148 


SONG  OF  DEBOEAH  AND  BARAK. 


sion  I  luill  sing ''^  occurs  twice  and  is  expressed  by  different 
Hebrew  words.  First,  the  common  Hebrew  term  denoting 
song  ^^^^^^'(!)?     employed,  but  in  the  other  case  '^TSfi^ 

T    •   T   "         "  ..  -  -: 

^zartimer.  This  is  from  *|)2T  ^^f^*^^  whose  secondary  significa- 
tion  is  to  sing.  Sometimes  it  refers  to  instrumental  music 
(vid.  Ps.  xxxiii.  2 ;  Ixxi.  22 ;  Dan.  iii.  5,  7,  10,  15) ;  but  it  is 
not  certain  that  it  does  here  (cf  Rem.  on  Ex.  xv.  2  supra), 
though  the  Alexandrine  translators  express  the  term  by  i/jaAw 
psalo,  from  if)aXX(o  psallo,  to  touch,  to  cause  to  move  (the  strings 
of  a  musical  instrument).  It  is  possible  that  the  word  here  re- 
fers to  playing  on  the  harp  or  some  other  stringed  instrument. 
Such,  undoubtedly,  were  employed  at  that  time,  and  must  have 
accompanied  this  song,  whatever  may  be  the  meaning  of 
zamar. 

Judges,  vi.  34. 

But  the  spirit  of  the  Lord  came  upon  Gideon, 
and  he  blew  a  trumpet ;  and  Abiezer  was  gathered 
after  him. 

It  appears  that  Gideon  was  directed  by  Jehovah  to  deliver 
the  children  of  Israel  from  the  Midianites,  by  whom  they  had 
been  oppressed  during  seven  years.  Accordingly,  he  called  to- 
gether his  army  for  the  purpose,  by  the  sound  of  the  trumpet. 
This  was  the  war-trumpet,  or  shophar. 

Judges,  vii.  8,  16,  18,  19,  20,  22. 

8  So  the  people  took  victuals  in  their  hand,  and 
their  trumpets :  and  he  sent  all  tJie  rest  of  Israel 
every  man  unto  his  tent,  and  retained  those  three 
hundred  men:  and  the  host  of  Midian  was  be- 
neath him  in  the  valley. 


JUDGES  VII.  8,  16,  18,  19,  20,  22.  149 

16  And  lie  divided  the  three  hundred  men  into 
three  companies,  and  he  put  a  trumpet  in  every 
man's  hand,  with  empty  pitchers,  and  lamps  within 
the  pitchers. 

18  When  I  blow  with  a  trumpet,  I  and  all  that 
are  with  me,  then  blow  ye  the  trumpets  also  on 
every  side  of  all  the  camp,  and  say.  The  sword  of 
the  Lord,  and  of  Gideon.  19  So  Gideon,  and  the 
hundred  men  that  loere  with  him,  came  unto  the 
outside  of  the  camp  in  the  beginning  of  the  middle 
watch  ;  and  they  had  but  newly  set  the  watch : 
and  they  blew  the  trumpets,  and  brake  the  pitch- 
ers that  were  in  their  hands.  20  And  the  three 
companies  blew  the  trumpets,  and  brake  the  pitch- 
ers, and  held  the  lamps  in  their  left  hands,  and  the 
trumpets  in  their  right  hands  to  blow  withal 'j 
and  they  cried,  The  sword  of  the  Lord,  and  of 
Gideon. 

22  And  the  three  hundred  blew  the  trumpets; 
and  the  Lord  set  every  man's  sword  against  his  fel- 
low, even  throughout  all  the  host :  and  the  host 
fled  to  Beth-shittah  in  Zererath,  and  to  the  bor- 
der of  Abel-meholah,  unto  Tabbath. 

This  is  a  striking  instance  of  divine  interposition  in  behalf  of 
the  children  of  Israel.  Gideon's  army  consisted  of  only  three 
hundred  men  who  were  to  contend  with  the  multitudes  of 
Midian  (vid.  Judges,  vi.  5). 

Gideon's  host  were  directed  each  to  take  a  trumpet,  and  a 
pitcher  containing  a  lamp,  in  his  hands.  They  moved  towards 
the  camp  of  the  enemy  at  the  middle  watch  of  the  night,  and  as 


150 


jephthah's  daughtek. 


they  approached,  blew  their  trumpets,  brake  their  pitchers, 
rushed  upon  the  Midianites,  and  speedil}^  subdued  them.  The 
usual  war-shout  was  uttered.  They  cried,  "  The  sword  of  the 
Lord  and  of  Gideon.'^''  In  each  of  the  verses  quoted  above, 
there  is  reference  to  the  same  instrument  of  music,  viz.,  the 
shophar^  or  crooked  trumjpet. 

Judges,  xi.  34. 

And  Jeplitliali  came  to  Mizpeli  unto  his  house, 
and,  behold,  his  daughter  came  out  to  meet  him 
with  timbrels  and  with  dances :  and  she  was  Ms 
only  child ;  beside  her  he  had  neither  son  nor 
daughter. 

Jephthah  had  led  a  victorious  army  against  the  Ammonites, 
and  was  returning  in  triumph  to  Mizpeh,  the  place  of  his  resi- 
dence, when  his  only  daughter  came  out  with  timbrels  and 
dances,  to  welcome  him  home.  The  toph  is  the  instrument 
here  mentioned.  Probably  there  was  a  company  of  musicians 
with  Jephthah's  daughter,  as  there  were  timbrels  and  dances^ 
the  plural  number  being  employed.  This  music  seems  to  have 
been  similar  to  that  mentioned  in  Ex.  xv.  20  (vid.  Rem.  on 
this  passage  svj^^ra).  Miriam  and  the  female  Israelites  cele- 
brated their  victory  over  Pharaoh  at  the  Red  Sea  with  timbrels 
and  dances.  The  same  original  w^ords  are  used  for  those  in- 
struments as  in  the  case  before  us.  Females  generally  per- 
formed upon  timbrels,  dancing  as  they  played.  In  Gen.  xxxi. 
27,  the  tabret  is  mentioned  in  connection  with  the  harp.  La- 
ban  reproved  J acob  because  he  went  away  privately  and  did 
not  give  him  an  opportunity  to  escort  him  with  songs  and  in- 
strumental music.  The  same  original  word  for  tabret  appears 
in  Gen.  xxxi.  27  as  in  Judg.  xi.  34  and  Ex.  xv.  20,  excepting 
that  in  Genesis  the  singular  number  is  used.  It  is  very  possi- 
ble that  those  who  accompanied  Jephthah's  daughter  had  differ- 


JUDGES  XXI.  21,  23. 


151 


ent  kinds  of  instruments,  as  was  usual  on  such  occasions, 
l^or  further  remarks  on  timbrels  and  dances,  vid.  notes  on  Gen. 
xxxi.  27  and  Ex.  xv.  20. 

Judges,  xxi.  21,  23. 

21  And  see,  and  behold,  if  tlie  daughters  of  Shiloh 
come  out  to  dance  in  dances,  then  come  ye  out  of 
the  vineyards,  and  catch  you  every  man  his  wife 
of  the  daughters  of  Shiloh,  and  go  to  the  land  of 
Benjamin. 

23  And  the  children  of  Benjamin  did  so,  and  took 
tliem  wives,  according  to  their  number,  of  them 
that  danced,  whom  they  caught :  and  they  went 
and  returned  unto  their  inheritance,  and  repaired 
the  cities,  and  dwelt  in  them. 

Reference  is  here  made  to  the  custom  of  dancing  at  the  Jew- 
ish festivals.  The  one  to  which  there  is  special  reference  here, 
was  an  annual  feast,  about  to  be  celebrated  at  Shiloh  (v.  19). 
It  was  usual  at  those  festivals  to  have  dancing,  vocal  and  instru- 
mental music.  On  this  occasion,  probably,  the  female  dancers 
sung  and  played  on  timhrels  and  harps  and  perhaps  other  in- 
struments. 


158 


RUTH. 


THE  BOOK  OF  RUTH. 

IXTRODUCTORY  REMAEKS. 

This  book  is  generally  considered  as  an  appendix  to 
that  of  Judges,  and  an  introduction  to  those  of  Samuel. 
In  the  ancient  Jewish  canon  Ruth  and  Judo'es  formed  but 
one  book.  The  events  which  are  here  described  probably 
occurred  about  124:1  B.  C.  It  is  evident  from  the  gene- 
alogy in  Ruth  iv.  17-22,  that  the  narrative  could  not  have 
been  reduced  to  its  present  form  until  the  time  of  Samuel ; 
and  the  most  probable  supposition  is,  that  it  was  com- 
posed by  that  prophet. 

Its  object  is  partly  to  give  the  descent  of  David  through 
the  line  of  Ruth,  a  heathen  proselyte  to  the  Jewish  re- 
ligion, and  wife  of  Boaz,  whose  adoption  into  the  line  of 
Christ  has  generally  been  considered  as  a  preintimation  of 
the  admission  of  the  Gentiles  into  the  Christian  church. 
The  further  design  of  the  book  is  to  exhibit  the  care  of 
Jehovah  over  those  who  fear  and  sincerely  love  him,  by 
elevating  pious  Ruth  from  a  state  of  great  adversity  to 
that  of  the  highest  prosperity. 

There  are  no  allusions  here  to  music  vocal  or  instru- 
mental ;  but  as  the  history  is  in  realit}^  an  appendix  to 
the  book  of  Judges,  this  brief  notice  of  it  is  not  perhaps 
inappropriate. 


SAMUEL. 


153 


THE  TWO  BOOKS  OF  SAMUEL 

IXTRODUCTORY  REMARKS. 

In  the  Jewish  canon  the  two  books  of  Samuel  are  both 
in  one.  In  the  Septuagint  they  are  called  the  first  and 
second  book  of  Kings,  or  of  the  kingdoms,  being  two  of 
the  four  narratives  in  which  is  written  the  history  of  the 
kings  of  Israel  and  Judah.  They  seem  to  have  been  com- 
posed by  more  than  one  person.  The  most  probable  opinion 
is,  that  the  first  twenty-four  chapters  of  the  first  book  of 
Samuel  were  written  by  the  prophet  whose  name  they 
bear,  and  that  the  remainder  of  the  first  and  all  of  the 
second  book  were  prepared  by  the  prophets  Gad  and  ISTa- 
than.  It  is  probable  that  the  latter  wrote  all  of  the  second 
book  after  the  fifth  chapter.  The  prophets  were  accus- 
tomed to  write  memoirs  of  the  transactions  of  their  re- 
spective times.  Reference  is  made  to  such  documents  in 
1  Chron.  xxix.  29,  as  separate  books;  but  it  would  be 
natural  to  suppose  that  Ezra,  who  completed  the  canon  of 
Jewish  scripture,  would  throw  all  the  contents  of  those 
memoirs  into  the  two  books  of  Samuel. 

The  first  book  contains  the  history  and  polity  of  the 
Jewish  church  from  the  birth  of  Samuel  1135  B.  C,  or, 
according  to  Archbishop  Usher,  1271  B.  C,  to  the  death 
of  Saul,  1055  B.  C,  or,  according  to  Usher,  1219  B.  C,  a 
period  of  about  SO  or  52  years.  This  book  is  a  continu- 
ation of  the  history  of  the  Israelites  under  Eli  and  Sam- 
uel, the  last  two  judges,  and  Saul  their  first  monarch,  and 
gives  the  reason  why  their  form  of  government  was 
changed  from  an  aristocracy  to  a  m^onarchy.    It  also  ex- 


154: 


SHOUT  OF  JOY. 


bibits  the  preservation  of  God's  people  amid  all  of  their 
trials  and  dangers,  and  cites  remarkable  instances  of  mercy 
towards  those  who  have  trusted  in  Jehovah. 

1  Samuel,  iv.  5,  6. 

5  And  wlien  the  ark  of  the  covenant  of  the  Lord 
came  into  the  camp,  all  Israel  shouted  with  a  great 
shout,  so  that  the  earth  rans:  ao^ain. 

6  And  when  the  Philistines  heard  the  noise  of  the 
shout,  they  said.  What  meanetli  the  noise  of  this 
great  shout  in  the  camp  of  the  Hebrews  ?  And 
they  understood  that  the  ark  of  the  Lord  was 
come  into  the  camp. 

It  seems  that  the  Israelites  had  sinned  against  God  and  conse- 
quently did  not  receive  divine  assistance  as  they  led  on  their 
armies  against  the  Philistines.  The  latter  were  victorious,  and 
succeeded  in  seizing  the  ark  of  the  covenant  and  conveying  it  to 
their  own  camp.  They,  however,  found  it  to  be  a  troublesome 
and  dangerous  treasure,  and  hastened  to  return  it  to  the  Israel- 
ites, for  the  curse  of  God  rested  upon  them  in  consequence  of 
their  sacrilege.  Many  of  those  who  laid  their  hands  upon  it 
were  miserably  destroyed. 

The  children  of  Israel  had  been  mourning  the  loss  of  many 
of  their  number,  and  especially  of  the  ark  of  the  covenant ;  but 
when  they  saw  the  sacred  treasure  again  returning  into  the 
camp,  they  were  exceedingly  rejoiced  at  this  evident  token  of 
the  divine  favor,  and  shouted  with  a  great  shout.  It  is  probable 
that  they  not  only  shouted  for  joy,  but  accompanied  their  songs 
of  praise  by  instrumental  music,  in  accordance  with  the  custom 
on  such  occasions.  In  both  verses  the  term  shout  is  expressed 
by  the  same  original  word. 


i  samuel  x.  5.  155 

1  Samuel,  x.  5. 

After  that  thou  slialt  come  to  tlie  hill  of  God, 
where  is  the  garrison  of  the  Philistines :  and  it 
shall  come  to  pass,  when  thou  art  come  thither  to 
the  city,  that  thou  shalt  meet  a  company  of  proph- 
ets coming  down  from  the  high  place,  with  a  psal- 
tery, and  a  tabret,  and  a  pipe,  and  a  harp,  before 
them  ;  and  they  shall  prophesy. 

Reference  is  here  made  to  Saul  whom  Samuel  had  anointed 
king.  After  that  ceremony  had  been  completed,  Saul  was 
directed  by  the  prophet  to  go  to  Zelzah  and  Tabor,  and  then 
to  the  hill  of  God,  where  the  garrison  of  the  Philistines  was 
encamped.  He  was  further  informed  that  when  he  should  ap- 
proach the  city,  he  would  meet  a  company  of  prophets  coming 
down  from  the  high  place,  with  various  instruments  of  music. 
When  he  met  them,  in  accordance  with  the  prediction,  he 
caught  the  flame  of  inspiration  and  began  to  prophesy. 

This  company  of  seers,  probably,  came  from  the  schools  of 
the  iiroioliets.  Such  institutions  seem  to  have  been  established 
by  Samuel  while  he  was  a  judge  and  prophet  in  Israel.  At 
least  they  are  not  mentioned  before  that  time.  Under  the 
ministry  of  Eli,  the  degeneracy  of  the  priesthood  was  alarm- 
ing, and  the  spirit  of  prophesy  had  become  almost  entirely 
extinct. 

These,  it  is  thought,  were  the  leading  causes  which  resulted 
in  the  first  establishment  of  those  seminaries,  in  which  there 
was  ample  provision  made  for  the  education  of  those  who  were 
to  enter  the  prophetic  office. 

These  schools  were  first  established  in  the  cities  of  the  Le- 
vites,  being  dispersed  through  the  several  tribes  of  Israel  for 
the  more  convenient  instruction  of  the  people  (vid.  1  Sam.  x. 


156 


SCHOOLS  OF  THE  PROPHETS. 


5,  10;  xix.  20;  1  Kings  ii.  5;  xxii.  14).  Suitable  edifices 
were  erected  for  the  residences  of  the  prophets,  and  their  dis- 
ciples, who  were  called  sons  of  the  prophets.  Some  venerable 
and  divinely  inspired  prophet  presided  over  them,  who  was 
called  their  father  (2  Kings  ii.  12).  It  is  probable  that  Samuel 
was  the  first  of  those  fathers  (1  Sam.  xix.  20),  Elijah  an- 
other (2  Kings  ii.  12),  and  Elisha  the  next  (2  Kings  vi.  1). 
The  sons  of  the  prophets  lived  together  in  a  community  or 
society  (2  Kings  iv.  38),  and  were  instructed  in  the  principles 
of  the  Hebrew  religion,  in  the  knowledge  of  the  law,  and  in 
the  sacred  art  of  psalmody.  This  last  is  called  prophesying 
with  psalteries,  harps,  and  cymbals  (1  Sam.  x.  5  ;  1  Chron.  xxv. 
1,  7).  Calmet  supposes  that  these  schools  continued  until  the 
Babylonish  captivity.  It  is  probable  that  God  selected  from 
them  those  who  were  suitable  to  exercise  the  prophetic 
office  and  make  known  to  the  people  his  will.  The  students 
or  young  prophets  were  frequently  dispatched  by  their  instruc- 
tors to  carry  prophetic  messages  (2  Kings  ix.  1).  It  is  a  fact 
which  should  be  more  frequently  remembered,  that  in  ancient 
times  the  greatest  and  best  men  acquired  a  knowledge  of  music, 
both  vocal  and  instrumental.  It  seems  that  it  was  an  indis- 
pensable requisite  for  the  prophets,  who  were  the  holiest  and 
generally  the  most  learned  men  of  their  age,  to  be  thoroughly 
trained  in  this  sacred  art.  It  was  so  important  that  even  their 
pri3pheeies  must  be  uttered  in  poetry,  and  attended  by  instru- 
mental if  not  vocal  music.  It  is  probable  that  they  made  great 
proficiency  in  the  art,  as  they  spent  much  time  in  its  study 
and  practice.  David's  great  masters  of  music,  Asaph,  Heman, 
and  Jeduthun,  and  his  four  thousand  Levitical  performers  of 
vocal  and  instrumental  music,  were  doubtless  instructed  in  these 
colleges,  and  must  have  been  very  skillful  performers,  as  they 
devoted  a  great  part  of  their  lives  to  the  study  of  the  art. 
Music  and  poetry  reached  a  higher  state  of  cultivation  under 
the  reign  of  David  than  ever  before,  and  he  commenced  his 
reign  soon  after  the  occurrence  mentioned  in  the  passage  under 
consideration. 


I    SAMUEL  X.  5. 


157 


When  those  seers  prophesied,  they  probably  uttered  their 
poetic  effusions  in  a  chant  accompanied  by  some  musical  instru- 
ments. Hence  it  is  said  that  they  prophesied  with  "  psalteries, 
cymbals,  and  harps"  (1  Chron,  xxv.  1).  Probably  some  per- 
formed on  musical  instruments  while  a  prophecy  was  being 
uttered.  A  'pipe  was  one  of  the  instruments  mentioned  in  the 
passage  before  us,  and  the  one  who  performed  on  it  could  not 
have  uttered  poetry,  as  the  pipe  is  a  wind  instrument  blown 
with  the  mouth. 

Psaltery. — This  is  an  instrument  which  does  not  occur  in  any 
previous  passage.    The  Hebrew  term  is  5)25  nebhel,  originally 

signifying  a  Lottie^  i.  e.,  a  leathern  bag.  It  had  the  form  of  a  pyra- 
mid or  cone.  A  secondary  meaning  of  the  word  is  a  musical 
instriimenf,  and,  like  a  bottle,  its  shape  is  supposed  to  have 
been  that  of  an  inverted  cone  or  delta  (y).  Its  form,  it  is  be- 
lieved, suggested  its  name.  The  Greek  term  is  vd^?^a  nabla_ 
or  vavka  naiila,  and  the  Latin,  ?iablium.  Na/3Aa  jiabla,  appears 
in  the  Septuagint.  Gesenius  supposes  that  it  was  a  species  of 
harp  or  If/re.  Josephus  (Ant.  vii.  xii.  3)  describes  it  as  a 
species  of  harp  or  lyre,  having  twelve  strings,  and  played  with 
the  fingers  and  not  with  a  key.    ^y^j^  nehhel  asor,  a  ten 

{stringed )  nebhel,  in  Ps.  xxxiii.  2  ;  cxliv.  9,  would  seem  to  in. 
dicate  that  it  was  an  instrument  with  ten  strings.  Jerome  in- 
forms us  that  its  figure  was  triangular,  resembling  an  inverted 
delta,  which  also  was  the  form  of  the  harp  or  sa?nbuca  (Vit- 
ruv.  vi.  1).  Dr.  Jahn  asserts  that  the  Greeks  acknowledored 
the  name  of  this  instrument  [nabla)  to  have  been  derived  from 
the  Phoenicians.  The  same  learned  author  remarks,  that  in  the 
time  of  Josephus  it  had  twelve  strings.  At  an  earlier  period, 
however,  according  to  Ps.  xxxiii.  2  ;  cxliv.  9,  it  had  only  ten. 
This  view  is  probably  the  correct  one,  for  the  )iebheL  like  other 
stringed  instruments,  at  first  had  a  small  number  of  strings, 
and  subsequently  their  number  was  increased.  From  the  de- 
rivation of  the  name  one  might  suppose  that  the  sounding- 
board  was  in  the  form  of  a  leathern  bag  or  bottle ;  but  nebhel 


lo8  ANCIENT  HEBREW  GUITAR. 


Fig.  XXXIII. 


very  early  signified  a  vessel  of  any  kind,  like  doliinn  of  the 
Romans,  and  the  sounding-board  was  probably  a  round  wooden 
dish.  Niebuhr  saw,  in  Egypt,  an  instrument  of  this  kind  in 
the  Nubias  (Reis.  1.  Th.  S.  179).  Jahn  has  given  an  engraved 
profile  of  it  (Kupfertaftel  Nro.  1),  which  we  here  present. 

The  belly  of  this  instrument  pro- 
jects from  a  round  wooden  dish,  hav- 
ing a  small  aperture  beneath.  A  hide 
is  drawn  over  the  top  of  the  dish,  or, 
according  to  Wansleb.  in  P.  Samml. 
iii.  36,  "  a  piece  of  red  leather  is 
drawn  tightly  over,  which  is  higher  in 
the  middle  than  where  the  strings  are 
tied."  Through  this  skin  or  red  leath- 
er tw^o  sticks  pass  in  such  a  manner* 
that,  with  a  third,  which  is  fastened 
above  to  the  end  of  the  two  in  an 
oblique  direction,  they  form  an  in- 
verted delta.  The  strings  pass  across 
the  hide  on  a  narrow  bridge,  and  are 
made  fast  to  the  cross-stick  above. 
This  specimen  has  but  five  strings. 
Perhaps  at  first  this  was  the  usual 
number.  Afterwards  they  were  in- 
creased to  ten  and  twelve.    The  He- 

Ancient  Guitar  {\^^  nehhel)  i     ..i  •     •     ^  .       -  i 

^'^rtf.  -     '  brews  made  this  instrument  not  only 
of  the,  Hahrews.  ^-j^^  fir-tree,  but  sometimes  of  costly 

red  sandal-wood,  or  the  abnug  (2  Sam.  vi.  5  ;  1  Kings  x.  12). 
Josephus  and  Gesenius,  as  we  have  intimated,  called  the  nebhel  a 
species  of  harp  or  lijre.  Pfeiffer  considers  it  as  properly  rep- 
resented by  the  modern  guitar.  It  is  difficult  to  decide  pre- 
cisely what  it  was  and  what  modern  instrument  it  most  nearly 
resembled  ;  but  as  the  three  great  classes,  viz.,  harps,  lyres,  and 
guitars,  have  been  discovered  among  the  ruins  of  Egypt,  and 
as  they  must,  in  all  probability,  have  been,  in  their  general 
characteristics,  the  •  representatives  of  Hebrew  musical  instru- 


I  SAMUEL  X.  5. 


159 


mcnts,  and  as  both  generally  correspond  with  the  three  similar 
classes  of  modern  stringed  instruments,  it  must  follow  that 
those  instruments  sculptured  on  the  Egyptian  ruins  may  prop- 
erly bear  the  names  of  the  modern  instruments  which  they 
most  nearly  resemble. 

Then  let  us  compare  the  specimen  presented  from  Jahn, 
above,  with  the  three  classes  of  modern  stringed  instruments, 
and  ascertain  if  possible  what  it  should  be  called.  In  our  Eng- 
lish translation  it  is  termed  psaltery.  Modern  instruments  of 
this  kind  are  flat,  in  the  form  of  a  trapezium  or  triangle  trun- 
cated at  the  top.  They  are  strung  with  thirteen  wire  cords, 
tuned  in  unisons  or  octaves,  mounted  on  two  bridges,  and 
played  with  a  plectrum.  The  guitar  is  a  stringed  instrument, 
the  body  of  which  is  of  an  oval-like  form,  and  the  neck  similar 
to  that  of  a  violin.  The  strings  are  distended  in  parallel  lines 
from  the  head  to  the  lower  end,  passing  over  the  sounding-hole 
and  bridge.  The  modern  harp  consists  of  a  triangular  frame, 
with  cords  running  parallel  from  the  top  to  one  of  the  sides. 
It  stands  erect  at  the  feet  of  the  performer,  and  is  played 
with  the  thumb  ar^d  fingers.  This  instrument  had  only  three 
strings  at  first,  but  their  number  was  afterwards  increased 
to  more  than  thirty.  The  lyre  is  considerably  like  the  harp  ; 
but  anciently,  according  to  Passow,  it  had  a  deeper  sounding- 
board  or  chest. 

From  these  descriptions  it  is  probable  that  the  neljliel  more 
nearly  resembled  the  ancient  and  modern  guitar  than  any  other 
instrument.  The  harp  has  no  bridge,  the  psaltery  has  two,  and 
the  lyre  has  none ;  but  the  ancient  and  modern  guitar  has  a 
bridge,  and  but  one.  It  is  probable  that  the  ancient  guitar  and 
psaltery,  and  even  the  lyre,  were  improvements  upon  the  harp, 
and  might  be  called,  without  much  impropriety,  in  the  language 
of  Josephus  and  Gesenius,  "  a  species  of  harp  or  lyre."  As 
Jahn's  drawing  is  like  the  guitar,  he  must  have  considered  the 
nebhel  as  best  represented  by  that  instrument.  It  had  various 
forms,  more  or  less  resembling  the  inverted  Greek  delta. 


160  ANCIENT  EGYPTIAN  GUITARS. 

The  following,  Fig.  xxxiv,  are  four  taken  from  the  ruins  of 
Egypt. 

Fig.  XXXIV. 


Four  Ancient  Guitars  {nebheU)  taken  from  tlie  Ruins  of  Egypt. 

Tahret. — This  is  probably  the  timbrel,  and  the  same  instru- 
ment which  is  mentioned  in  Judges  xi.  34.  It  is  in  the  singular 
number  as  in  Gen.  xxxi.  27,  where  it  evidently  indicates  more 
than  one  instrument.  In  the  case  before  us  it  is  probable  that 
there  was  more  than  one  timbrel  or  tabret,  as  was  usually  the 
case  in  concerts,  though  it  is  possible  that  there  was  but  one  in- 
strument .  of  each  kind  (for  a  description  of  the  tabret  vid. 
Rem.  on  Gen.  xxxi.  27  supra). 

Pipe. — The  Hebrew  of  this  term  is  ^^in  hhaUl^  a  verbal 

from  i)in  ^i^^'fj^f-^,  to  pierce^   to  bore  through  (Arabic  J^), 

hence,  a  pierced  or  bored  instrument,  a  Jlute^  a  pipe.  The  Sep- 
tuagint  has  avXog  aulos,  a  flute.  It  was  evidently  a  wind  in- 
strument. Dr.  Jahn  supposes  tliat  it  was  made  out  of  reed, 
horn,  bone,  or  wood,  and  was  used  on  joyous  as  well  as  mourn- 
ful occasions.  It  is  probable  that  the  Hebrews,  as  well  as  the 
ancient  Greeks,  Romans,  and  modern  Arabians,  had  several 
kinds  of  this  instrument.  Niebuhr  (vid.  Rcis.  I  Ch.  S.  180. 
tab.  26)  found  in  Arabia  no^  only  single  but  double  flutes,  both 
tubes  of  which  were  blown  at  once,  one  giving  the  bass. 
Jahn,  in  table  v.  and  Nr.  11  of  his  Archa3ulogy,  has  copied 


I  SAMUEL  X.  5. 


161 


Fig.  XXXV.  Niebiilir  three  specimens  of  tlic  Arabian  flute, 

the  first  of  which  has  a  mouth-piece  ;  but  the  second 
has  only  an  opening  above,  which,  according  to  the 
testimony  of  Niebuhr,  is  difficult  to  blow.  Perhaps 
this  last  was  the  'Z'p>'^_  neqebh,  found  in  Eze.  xxviii.  13, 
and  the  others  the  jiin  ^^{'Ji^-  The  plural  ^1*^1 
(Ps.  V.  Tit.)  yi^h'iloth,  he  thinks  was  used  to  indicate 
the  double  flute,  which  was  knowTi  to  the  Romans 
(Adam's  Roman  Ant.  ii.  633  f).  The  following,  Fig. 
XXXV,  is  a  specimen  taken  from  Niebuhr. 

The  halil  was  probably  different  from  the  vgabh 
\  though  some  suppose  them  to  have  been  iden- 

<^>  tical.  Villoteau  found  various  kinds  of  pipes  and 
flutes  sculptured  on  the  ruins  of  Egypt.  The  flute 
as  well  as  the  pipe  of  Pan  was  undoubtedly  used  by 
the  ancient  Hebrews.  The  following.  Fig.  xxxvi,  are 
specimens  taken  from  Egyptian  ruins. 

These  forms  of  the  instrument  were,  no 
doubt,  of  later  origin  than  that  of  the  ygubh. 
The  event  described  in  the  passage  under  con- 
sideration probably  occurred  about  1095 
B.  C,  or  2749  years  after  the  ng  hh  was  em- 
ployed as  mentioned  in  Gen.  iv.  21. 

The  following,  Fig.  xxxvii,  represents  sev- 
eral Egyptian  flutes,  with  the  performers : 

Fig.  XXXVII,  ^ 

N 


Fig. 
XXXVI. 


Four  Egyptian  Pipes  or  Flutes. 


162 


THE  WAR-TRUMPET. 


Harp. — This  is  the  Manor ^  I'^g^^^V  translated  Imrj). 

The  event  here  described  probably  occurred  about  644  years 
after  the  mention  of  the  same  instrument  in  Gen.  xxxi.27.  During 
so  long  a  period  there  was  ample  time  for  the  harp  to  reach  a 
high  degree  of  improvement,  and  it  was  doubtless  far  superior 
to  that  mentioned  in  Genesis  iv.  21,  or  even  to  the  one  named  in 
Gen.  xxxi.  27. 

1  Samuel  xiii.  3. 

And  Jonatlian  smote  tlie  garrison  of  tlie  Philis- 
tines that  was  in  Geba,  and  the  Philistines  heard 
of  it.  And  Saul  blew  the  trumpet  throughout  all 
the  land,  saying,  Let  the  Hebrews  hear. 

Saul  had  reigned  over  Israel  two  years  when  he  commenced 
a  war  with  the  Philistines.  He  summoned  the  Hebrews  to  the 
battle  by  blowing  the  crooked  or  war  trumiM.  It  is  said  that 
Saul  blew  the  trumpet  all  over  the  land ;  probably  indicating 
not  only  that  he  sounded  this  instrument  himself,  but  commis- 
sioned others  to  blow  and  summon  the  people  generally  to  war. 

1  Samuel  xvi.  16,  18,  23. 

1 6  Let  our  lord  nov/  command  thy  servants,  ivliicli 
are  before  thee,  to  seek  out  a  man  who  is  a  cun- 
ning player  on  an  harp  :  and  it  shall  come  to  pass, 
when  the  evil  spirit  from  God  is  upon  thee,  that 
he  shall  play  with  his  hand,  and  thou  shalt  be 
well. 

18  Then  answered  one  of  the  servants,  and  said, 
Behold,  I  have  seen  a  son  of  Jesse  the  Bethlehem- 
ite,  that  is  cunning  in  playing,  and  a  mighty  valiant 


I    SAMUEL,  XVI.  16,  18,  23. 


163 


man,  and  a  man  of  war,  and  prudent  in  matters, 
and  a  comely  person,  and  tlie  Lord  is  with  him. 

23  And  it  came  to  pass,  when  the  evil  spirit  from 
God  was  upon  Saul,  that  David  took  an  harp, 
and  played  with  his  hand :  so  Saul  was  refreshed, 
and  was  well,  and  the  evil  spirit  departed  from 
him. 

Here  is  a  remarkable  instance  of  the  singular  effect  of  music 
upon  one  possessed  of  an  evil  spirit.  It  appears  that  Saul, 
after  he  had  reigned  over  Israel  about  thirty -eight  years,  was 
deserted  by  the  Lord  and  hurled  from  his  throne  because  he 
interfered  with  the  priestly  office,  did  not  obey  the  command 
of  Jehovah  in  reference  to  the  destruction  of  the  Amalekites, 
and  patronized  necromancy.  David  was  anointed  king,  and  be- 
came Saul's  successor.  The  prophet  informs  us  (1  Sam.  xvi. 
14)  that  the  spirit  of  the  Lord  departed  from  Saul,  and  that  an 
evil  spirit  from  the  Lord  troubled  him.  This  seems  to  indicate 
that  whatever  Saul's  disease  may  have  been  the  Lord  sent  it 
upon  him  on  account  of  his  sins.  Horne  thinks  that  it  was  in- 
sanity of  the  melancholic  or  atrabilarious  kind,  as  it  was 
termed  by  the  ancient  physicians.  The  fits  of  madness  re- 
turned at  uncertain  periods,  as  is  frequently  the  case  in  this 
kind  of  malady  (vid.  Home's  Intro.  P.  iv.  Ch.  ix.  Sec.  1,  4,  Vol. 
ii.  p.  196,  Phil.  ed.).  In  the  judgment  of  experienced  physicians, 
the  remedy  which  was  applied,  viz.,  playing  upon  the  harp,  was 
a  good  one.  The  character  of  the  oriental  music  was  expres- 
sive rather  than  scientific.  The  unstudied  and  artless  strains 
of  David  certainly  calmed  the  perturbed  imagination  of  Saul. 
On  one  occasion,  when  messengers,  who  were  sent  by  the  latter 
to  capture  David,  heard  the  sound  of  musical  instruments  in 
the  hands  of  the  prophets,  they  were  influenced  by  a  divine  en- 
thusiasm and  began  to  prophesy.  Saul  dispatched  persons  the 
second  and  third  time,  and  they  were  similarly  affected  by  the 
music.    Finally  the  king  himself  went,  and  when  he  approached 


164 


POWER  OF  MUSIC. 


the  seers,  and  heard  them  prophesying,  and,  doubtless,  per 
forming  on  instruments  of  music,  he  also  joined,  and  began  to 
prophesy  (1  Sam.  xix.  20-24).  The  prophet  Elisha,  once  be- 
ing agitated,  caused  a  minstrel  to  play,  in  order  to  calm  his 
mind  and  prepare  it  for  the  reception  of  the  divine  influence 
(2  Kings  iii.  15). 

These  remarkable  effects  of  music  would  seem  to  imply  great 
skill  in  the  performers.  The  natural  effect  of  sweet  and  har- 
monious sounds  is  to  calm  the  spirits  and  elevate  the  soul. 
The  pious  feelings  of  the  Christian  are  aroused  by  music,  and 
he  rejoices  to  unite  in  singing  spiritual  songs.  David  seems  to 
have  been  very  skillful  in  performing  upon  the  harp,  being  able 
to  excite  the  most  varied  emotions  by  his  joyous  and  plaintive 
strains.  Some  musicians  of  modern  times,  by  devoting  their 
lives  to  performing  upon  a  single  instrument,  have  been  able  to 
produce  astonishing  effects.  The  celebrated  Nicolo  Paganini,  of 
Genoa,  who  is  supposed  to  have  been  the  most  skillful  perform- 
er upon  the  violin  who  ever  lived,  inspired  wonder  and  admira- 
tion in  all  who  heard  him.  He  visited  Berlin,  Paris,  London,  and 
many  other  great  cities  in  Europe,  and  all  who  witnessed  his 
performances  agree  in  declaring  that  the  violin  in  his  hands  be- 
came an  instrument  entirely  diff*erent  from  what  they  had  ever 
supposed  it  could  be,  and  most  who  heard  him  agreed  in  con- 
sidering his  performances  as  perfection  itself  The  music  of 
David's  harp,  and  that  of  other  musical  instruments  in  his  time, 
seemed  wonderfully  to  calm  the  mind  and  prepare  it  for  the  re- 
ception of  the  divine  afllatus,  and  for  prophesying  (vid.  Rem. 
on  1  Sam.  x.  5,  supra). 

Player  on  a  harp. — Literally,  one  playwg  on  a  harp.  It 
appears  that  Saul  sent  for  David  because  he  was  said  to  be 
skilled  in  performing  upon  that  instrument.  This  was  before 
his  anger  had  been  kindled  against  David.  When  the  son  of 
Jesse  came  and  played  (v.  23)  Saul's  disease  entirely  left  him. 
The  harp  to  which  reference  is  here  made  was  the  Jcinnor  (vid. 
Rem.  on  Gen.  iv.  21,  supra).  Josephus  (Ant.  B.  vii.  Ch.  xii. 
Sec.  3)  informs  us  that  it  had  ten  strings,  and  was  struck  with 


I  SAMUEL  XVIII.  6,  7,  10. 


1G5 


a  plectrum  or  key  ;  but  this  must  be  a  mistake,  as  in  I  Sam. 
xvi.  23  ;  xviii.  10,  and  xix.  9,  David  is  said  to  have  played 
with  his  hand. 

I  Samuel  xviii.  6,  7,  10. 

6  And  it  came  to  pass  as  they  came,  when  David 
was  retm^ned  from  the  slaughter  of  the  Philistine, 
that  the  women  came  out  of  all  the  cities  of  Israel, 
singing  and  dancing,  to  meet  king  Saul,  with  tab- 
rets,  with  joy,  and  with  instruments  of  music. 
7  And  the  women  answered  one  another  as  they 
played,  and  said,  Saul  hath  slain  his  thousands,  and 
David  his  ten  thousands. 

10  And  it  came  to  pass  on  the  morrow,  that  the 
evil  spirit  from  God  came  upon  Saul,  and  he 
prophesied  in  the  midst  of  the  house :  and  David 
played  with  his  hand,  as  at  other  times  :  and  there 
luas  a  javelin  in  Saul's  hand. 

It  seems  by  verses  6  and  7  that  an  allusion  is  here  made  to 
the  combat  between  David  and  Goliath.  The  latter  was  the 
champion  of  the  Philistines,  whom  David  slew,  and  was  thus 
instrumental  in  discomfiting  the  enemies  of  Israel.  When 
David  and  Saul  returned  from  their  victory,  females  came  out 
to  meet  them,  from  various  cities,  singing  and  dancing,  and  per- 
forming upon  various  instruments  of  music.  It  was  customary 
among  the  Hebrews  to  give  their  victorious  chieftains  a  public 
triumph.  On  such  occasions,  females,  with  instruments  of 
music,  preceded  the  males.  They  played,  sung,  danced,  and 
made  every  possible  demonstration  of  joy.  Thus  Jephthah 
was  hailed  by  his  daughter  and  other  female  musicians  on  his 
return,  after  having  conquered  the  Ammonites  (vid.  Jud.  xi.  34). 
The  victorious  army  of  Jehoshaphat  triumphantly  entered  Je- 


166 


PULSATILE  INSTRU^IEXTS  OF  MUSIC. 


rusalem,  being  led  on  by  the  king  in  person,  accompanied  by- 
musicians,  with  psalteries,  harps,  and  trumpets  (vid.  II  Chron. 
XX.  27,  28).  The  same  custom  now  prevails  in  India  and  Tur- 
key. In  the  instance  under  consideration,  the  females  preceded 
the  males,  and  repeated  with  each  other  answering  strains  of 
music. 

Tabrets. — These  were  tophs  (^'^STi  tuppim).  On  such  occa- 
sions of  joy  as  this,  it  is  probable  that  not  only  the  toph,  but 
other  pulsatile  as  well  as  wind  and  stringed  instruments  were 
employed  (vid.  Rem.  on  Gen.  xxxi.  27,  and  the  accompanying 
engraving). 

Instruments  of  music. — The  term  in  Hebrew  for  this  expres-  . 
sion  is '□"I'^'^'jj)  s/i«Zis7im,  from  '^"ij'©'  shalish,  or  'j^Jtli  ^^^^^-^A. 

It  signifies  a  third,  i.  e.,  a  measure  for  grain.  In  the  plural,  as 
in  this  case,  it  signifies,  according  to  Gesenius,  a  triangle,  i.  e., 
a  triangular  instrument  of  music,  struck  in  concert  with  drums, 
as  in  modern  military  music.  When  it  refers  to  a  measure,  it 
indicates  one  w^hich  is  hollow,  and  consequently  some  have  sup- 
posed that  the  musical  instrument  sometimes  indicated  by  it, 
was  similar  in  form.  Others  believe  that,  as  it  means  third,  it 
refers  to  a  stringed  instrument  of  three  strings.  Dr.  Jahn 
thinks  it  probable  that  it  was  a  triangle,  from  the  signification 
of  the  word,  which  Athenseus  (Deipnos  op.  iv.  23)  proves  to 
be  of  Syriac  origin.  JHorne  maintains  that  there  is  no  ground 
to  consider  it,  with  some  ancient  translators,  as  the  castanet. 
The  LXX  express  it  by  Kv^i^iaXoL^  kumbalois,  which  may  be 
rendered  cymbals  or  castanets.  Jerome  translated  the  word  by 
sistris.  The  sistrum  consisted  of  a  rod  of  iron  bent  into  an 
oval  or  oblong  shape,  or  square  at  two  corners  and  curved  at 
the  others.  Upon  the  rod  were  a  number  of  movable  rings. 
They  w^ere  shaken  or  struck  by  another  rod  of  iron.  En- 
gravings of  sistra  may  be  seen  on  pages  98-100  above.  Villo- 
teau  found  this  instrument  sculptured  on  the  most  ancient  ruins 
of  Egypt.  He  discovered  different  sizes  of  it,  and  variously 
ornamented.    It  is  not  certain  that  the  shalishim  were  sistra  ; 


I    SAML'EL  XIX.  9. 


167 


but  as  their  original  signification  seems  to  refer  to  a  three-sided 
or  triangular  instrument,  and  as  the  term  occurs  in  connection 
with  tabrets,  it  is  probable  that  it  was  a  pulsatile  instrument, 
and  had  one  of  the  many  forms  of  the  sistrum.  As  shaUsh'im 
is  in  the  plural,  probably  several  sistra  were  used,  perhaps  of 
different  forms. 

In  verse  10  it  appears  that  David  performed  again  on  his 
harp  before  Saul,  but  with  less  effect  than  before,  for  Saul  was 
enraged  at  him,  and,  regardless  of  the  sweet  and  pious  strains 
of  the  minstrel,  thrust  his  javelin  at  him,  though  he  did  not 
succeed  in  his  murderous  attempt. 

I  Samuel  xix.  9. 

And  tlie  evil  spirit  from  the  Lord  was  upon 
Saul,  as  lie  sat  in  his  house  with  his  javelin  in  his 
hand  :  and  David  played  with  his  hand. 

David,  by  the  intercession  of  Jonathan,  had  been  restored  to 
the  favor  of  Saul ;  but  no  sooner  did  the  former  contend  with 
the  Philistines  and  deliver  Israel  from  their  hands,  than  the 
king  was  again  incensed  against  him,  and  made  an  attempt 
upon  his  life  with  a  javelin  while  he  was  playing  sweetly  upon 
his  harp.  It  would  seem  that  a  part  of  Saul's  disease,  at  least, 
was  malicious  envy,  from  the  fact  that  he  always  seemed  to  be 
enraged  at  David  when  he  performed  some  achievement  which 
caused  the  people  to  think  more  of  the  minstrel  than  of  him- 
self. 

I  Samuel  xix.  20,  21,  23,  24. 

20  And  Saul  sent  messengers  to  take  David : 
and  when  they  saw  the  company  of  the  prophets 
prophesying,  and  Samuel  standing  as  appointed 
over  them,  the  Spirit  of  God  was  upon  the  mes- 


168 


SCHOOLS  OF  TKE  rROPHETS. 


sengers  of  Saul,  and  they  also  prophesied.  21 
And  when  it  was  told  Saul,  he  sent  other  messen- 
gers, and  they  prophesied  likewise.  And  Saul 
sent  messengers  again  the  third  time,  and  they 
prophesied  also. 

23  And  he  went  thither  to  ISTaioth  in  Ramah : 
and  the  Spirit  of  God  was  upon  him  also,  and  he 
w^ent  on,  and  prophesied,  until  he  came  to  Naioth 
in  Ramah.  24  And  he  stripped  off  his  clothes 
also,  and  prophesied  before  Samuel  in  like  manner, 
and  lay  down  naked  all  that  day  and  all  that 
night.  Wherefore  they  say,  Is  Saul  also  among 
the  prophets  ? 

Here  is  a  reference  to  the  school  of  the  projohets  (vid.  Rem. 
on  I  Sam.  x.  5,  svpra)  over  which  Samuel  presided.  It  ap- 
pears that  David  was  with  them,  and  Saul  sent  messengers  at 
three  different  times,  to  capture  him,  and  finally  made  the  at- 
tempt himself;  but  when  they  saw  the  company  of  prophets, 
with  Samuel  at  their  head,  prophesying  in  a  solemn  manner, 
while  various  instruments  of  music  were  pouring  forth  their 
sweet  and  soothing  strains,  a  divine  influence  seemed  to  over- 
whelm Saul  and  his  messengers,  and  they  joined  the  seers 
and  began  to  prophesy  with  them  (vid.  Rem.  on  I  Sam.  xvi. 
16,  18,  23  ;  I  Chron.  xxv.  1,  3,  5,  6,  7). 

I  Saimuel  xxi.  11. 

And  the  servants  of  Achish  said  unto  him.  Is 
not  this  David  the  king  of  the  land  ?  did  they  not 
sing  one  to  another  of  him  in  dances,  saying,  Saul 
hath  slain  his  thousands,  and  David  his  ten  thou- 
sands ? 


I  SAMUEL  XXIX.  5. 


1G9 


David  had  fled  from  the  fury  of  Saul,  to  the  king  of  Gath, 
whose  servants  suspected  the  character  of  their  guest,  and  ut- 
tered the  language  quoted  above. 

Shig  one  to  another  of  him  in  dances. — Here  is  a  reference  to 
I  Sam.  xviii.  6,  7,  where  it  is  said  that  women  came  out  of  the 
cities  of  Israel  to  meet  Saul  and  David  after  the  latter  had  con- 
quered the  Philistines.  They  approached  with  singing,  danc- 
ing, tabrets,  and  instruments  of  music,  proclaiming  that  David 
had  slain  his  tens  of  thousands,  while  Saul  had  only  slaiu  his 
thousands. 

I 

I  Sa^itel  xxix.  5.  , 

Is  not  tills  David,  of  Tvliom  they  sang  one  to  an- 
otlier  in  dances,  saying,  Sanl  slew  his  thousands, 
and  David  his  ten  thousands  ? 

This  refers  to  the  same  occurrence,  and,  of  course,  to  the 
same  kinds  of  music  as  the  passage  last  considered. 

I  S A:\ruEL  XXX.  16. 

And  when  he  had  brought  him  down,  behold, 
tliey  10 ere  spread  abroad  upon  all  the  earth,  eating 
and  drinkins:  and  dancins:,  because  of  all  the  s^reat 
spoil  that  they  had  taken  out  of  the  land  of  the 
Philistines,  and  out  of  the  land  of  Judah. 

These  words  wore  spoken  in  reference  to  the  Amalekites, 
who  had,  in  David's  absence,  captured  Ziklag,  burned  the  city, 
and  led  her  inhabitants  into  captivity.  When  the  king  returned 
and  saw  what  was  done,  he  took  the  four  hundred  men,  who 
were  with  him,  and  pursued  the  enemy.  Finding  them  spread 
abroad  upon  the  earth,  feasting  upon  the  spoils  which  they  had 
taken  in  other  places,  he  fell  upon  them  and  slew  them. 
8 


170 


HEBEEW  DANCING. 


Dancing. — The  Amalckites  were  evidently  engaged  in  re- 
joicings and  festivities  on  account  of  their  victories.  One  of 
their  sports  was  dancing^  and  they  probably,  in  accordance  with 
oriental  custom,  had  various  musical  accompaniments.  That 
people  lived  in  Arabia  Petrasa,  inhabiting  hamlets,  caves,  or 
dens,  like  the  present  Arabs.  They  were  doubtless  familiar 
with  various  kinds  of  musical  instruments,  as  it  is  certain  that 
the  Arabs  were,  long  before  that  period.  The  Amalekites,  no 
doubt,  used  instruments  similar  to  those  of  other  tribes  around 
them,  and  probably  the  same,  essentially,  as  those  of  the  Israel- 
ites. 

The  Hebrew  term  translated  dancing  is  ^I'^^n  ^^^iog^g'im, 
from  y^T]  hhagdg,  to  move  around  in  a  circle^  hence,  to  dance, 

~  T 


> 


II  SAMDEL  II.  28. 


171 


THE  SECOjJ^D  book  OF  SAMUEL. 

INTEODUCTORY  REMARKS. 

This  book  contains  tlie  history  of  David,  the  second 
king  of  Israel,  during  a  period  of  nearly  forty  years,  from 
about  1055  to  1015  B.  C.  It  records  an  account  of  the 
transferring  of  the  kingdom  of  Israel  from  the  tribe  of 
Benjamin  to  that  of  Judah.  There  is  a  description  of 
the  victories  of  David,  the  wise  administration  of  his 
government,  his  exertions  to  promote  true  religion,  his 
sins  and  repentance,  and  the  grievous  judgments  which 
fell  upon  him  and  his  subjects.  This  narrative  evidently 
bears  an  intimate  relation  to  the  first  book  of  Samuel  and 
the  first  book  of  Kings,  forming  a  connected  history.  The 
two  books  of  Samuel  are  important  from  the  fact  that  they 
illustrate,  and  indeed  constitute  the  key,  to  an  explanation 
of  the  Psalms. 

II  Samuel  ii.  28. 

So  Joab  blew  a  trumpet,  and  all  the  people 
stood  ^till,  and  pursued  after  Israel  no  more, 
neither  fouglit  tbey  any  more. 

It  appears  that  Joab  led  on  the  army  of  David  against  the 
forces  of  Saul  under  the  direction  of  Abner.  Joab  gained  the 
victory,  pursued  his  foes,  and  slew  large  numbers,  until  Abner, 
having  been  pursued  without  mercy,  inquired  if  the  "  sword 
should  devour  forever  "  (v.  26).  Then  Joab  blew  the  trumpet. 
This  was  the  shophar  or  crooked  trumpet^  blown  on  this  occasion 


172 


HEBREW  INSTRUMENTS  OF  MUSIC. 


to  indicate  a  truce.  It  was  probably  sounded  in  a  soft  tone,  as 
when  the  people  were  called  together  in  time  of  peace. 

II  Sa]\[uel  vi.  5. 

And  David  and  all  the  house  of  Israel  played 
before  the  Lord  on  all  manner  of  instruments  made 
of  fir-wood,  even  on  harps,  and  on  psalteries,  and 
on  timbrels,  and  on  cornets,  and  on  cymbals. 

There  is  an  allusion  in  this  passage  to  a  grand  concert  of  the 
minstrels  of  Israel,  called  together  to  celebrate  an  important 
event.  David,  the  king  of  Israel,  had  assembled  thirty  thou- 
sand of  his  people,  and  led  them  in  solemn  procession  to  the 
house  of  Abinadab,  a  Levite  of  Kirjath-jearim,  whither  the  ark 
of  the  covenant  had  been  carried  by  persons  sent  from  that 
place  to  receive  it  from  the  Philistines  at  Beth-shemesh,  where 
it  had  been  deposited  by  the  latter. 

After  the  Israelites  had  received  the  holy  treasure  and  turned 
their  faces  toward  the  city  of  David,  the  king  and  the  multi- 
tudes who  were  with  him  'played  on  all  kinds  of  instruments  of 
music.  This  was  considered  by  the  children  of  Israel  as  an  im- 
portant event,  from  the  fact  that  the  blessing  of  God  generally 
followed  the  ark  unless  it  was  seized  contrary  to  the  divine 
command.  The  Philistines  had  thus  carried  it  away  and  in- 
curred the  displeasure  of  Jehovah,  as  we  have  already  inti- 
mated. David,  undoubtedly,  selected  persons  of  the  greatest 
influence  in  the  kingdom — chosen  men  of  Israel,  and  the  most 
skillful  performers  upon  instruments  of  music — to  take  part  in 
this  grand  procession. 

Damd  and  all  the  house  of  Israel plaijed. — This  general  ex- 
pression might  seem  to  include  all  of  the  Israelites — those  who 
accompanied  David  and  those  who  did  not ;  but  it  is  more 
natural  to  suppose  that  there  is  reference  only  to  the  former, 
for  it  is  not  probable  that  there  were  instruments  of  music 


IT  SAMUEL  YI.  5. 


173 


enough  to  supply  all  the  thousands  of  Israel,  and  it  is  said 
that  "  all  played."  Perhaps  even  all  of  those  who  accompanied 
David  were  not  supplied  with  instruments.  All,  in  the  scrip- 
tures, is  frequently  used  for  a  part.  It  is  possible,  however,  m 
this  case,  as  the  occasion  was  so  important,  that  every  one  of 
the  thirty  thousand  had  an  instrument  of  music  and  played. 
The  king,  undoubtedly,  could  have  easily  supplied  such  a 
number.  However  this  may  have  been,  there  can  be  no 
doubt  that  there  was  a  great  number  of  musicians.  Perhaps 
all  of  the  four  thousand  Levite  singers  employed  in  the  taber- 
nacle, and  afterwards  in  the  temple,  were  there.  It  is  probable 
that  the  variety  of  instruments  was  considerable.  Perhaps  a 
large  proportion,  if  not  all  of  the  kinds,  known  to  the  Hebrews, 
were  used  on  the  occasion.  This  opinion  seems  to  be  confirmed 
by  the  expression,  "o/i  all  manner  of  Tnstrunienis  made  of  Jir- 
wood,''  which  is  qualified  by  the  following:  ^^even  on  /tarps,  and 
on  psalteries,  and  on  timbrels^  and  on  cornets^''  apparently  inti- 
mating that  these  were  the  instruments  indicated  by  "all  mari- 
ner of  instruments.''''  The  writer,  however,  may  have  been 
speaking  in  general  terms,  and  may  have  intended  to  name  the 
principal  kinds  of  instruments,  to  show  that  those  which  were 
used  on  the  most  solemn  and  important  occasions  were  em- 
ploj^ed  here.  The  king,  undoubtedly,  formed  as  complete  a 
band  as  was  possible  in  those  early  times.  The  sacred  writer 
mentions  five  instruments ;  but  perhaps  varieties  of  each  kind 
were  intended,  as  the  plural  number  is  used  in  each  case.  The 
LXX  supposed  that  more  instruments  were  employed  than  are 
mentioned.    They  render  the  passage  thus  : 

EV  dpydvoic  ripiioaaEVoic  tv  loxvl,  Kal  ev  d)6a7g,  koI  ev  KLVvpaic, 
Koi  EV  va^/MLc  Kal  EV  rvfiTdvoLg,  Kal  ev  KVjifSd/.otc,  Kal  ev  avAoJc. 
With  powerful  organs,  and  with  songs,  and  with  hcnps,  and 
with  guitars,  and  with  tabreis,  and  u'ith  cymbals,  and  with 
flutes. 

They  supposed  that  there  was  vocal  as  well  as  instrumental 
music,  which  was  the  fact,  as  it  appears  from  I  Chron.  xiii.  8. 
On  all  manner  of  instruments  made  of  fir -wood. — The  He- 


IT-i    HxVRPS,  PSALTERIES,  TIMBRELS,  AND  CORNETS. 


brew  of  this  expression  is  t]^tl)i^i  ^"^^  ii!^  h^kol^tse  bh-oshim, 

literally,  on  all  loood  of  cypress-trees.  We  are  to  understand 
by  this  phrase  that  the  Israelites  played  on  all  kinds  of  instru- 
ments made  of  cypress-wood.  The  term  tD^^tiilin  b^>'osh'im^ 
ajpress-trees,  may  have  included  other  trees  of  the  pine  genus, 
though  that  is  uncertain  (vid.  Gesen.  Thesaurus  p.  246).  We 
have  no  means  of  ascertaining  how  many  kinds  of  musical  in- 
struments were  made  of  cypress-wood.  Of  course  we  must 
except  those  which  were  constructed  of  metal,  horn,  and  per- 
haps others. 

Harps. — These  are  the  Kinnors,  so  often  referred  to  above. 

Psalteries. — The  Hebrew  term  is  the  same  as  the  one  which 
occurs  in  1  Sam.  x.  5,  and  translated  psalteries,  exccDting  that 
in  this  passage  the  plural  form  is  used,  viz.,  t^^rj;^^  '^^bhaVim, 

•  T  : 

clearly  indicating  that  there  were  more  instruments  than  one 
of  this  kind  used  on  the  occasion.  These  were  probably  gui- 
tars (vid.  Rem.  on  1  Sam.  x.  5,  supra). 

Timbrels. — The  same  original  word  is  used  as  in  Judges  xi. 
34.* 

Cornets. — Here  we  find  an  instrument  which  is  not  mentioned 
before.  The  Hebrew  term  is  Q^i?^^/^^  7n^nddnim,  a  participle, 

in  the  Peal  conjugation  used  as  a  noun  in  the  masculine  plural, 
from  miah.^  to  move  to  and  fro,  to  ivaver.  The  Greek  term 
is  vev(j)  7ieud,  Latin  7iuo,  German  nicken,  all  of  wdiich  mean  tj 
nod  backwards  and  forwards.  Trom  the  origin  of  the  word  we 
have  reason  to  believe  that  the  instrument  intended  w^as  one 
which  was  shaken.  The  Vulgate  renders  it  sistra.  It  was  evi- 
dently some  kind  of  timbrel  which  was  shaken  when  played. 
Consequently,  the  English  translation  must  be  incorrect,  as 
Cornets  are  wind  instruments.  It  is  difficult  to  ascertain  ex- 
actly the  form  of  this  instrument.  Jahn  supposes  that  it  must 
have  been  of  the  pulsatile  kind.    The  Septuagint  translators 

*  For  a  description  of  this  instrument,  vid.  Rem.  on  Gen.  xxxi.  27 ; 
^i  Rem.  on  Judg.  xi.  34,  and  Ex.  xv.  20. 


II  SAMUEL  VI.  0.  175 

have  rendered  it  by  avXaq  aula.s^  Jlutes ;  but  they  were  cer- 
tainly mistaken  in  supposing  that  it  was  a  wind  instrument. 
Jahn  thinks  that  it  probably  consisted  of  an  iron  rod  with  two 
square  corners  and  rounded  at  the  top,  or  that  it  was  similar  to 
an  arc  in  form,  with  rings  hung  loosely  upon  it,  making  a  tink- 
ling sound  when  the  instrument  was  struck  or  shaken.  This 
explanation  is  probably  correct,  as  the  sistrum,  according  to 
Jablonski  and  others,  was  common  in  Egypt  (Opusc.  i.  p.  306- 
309).  Horne  maintains  the  same  opinion  (Intro.  P.  iv.  c.  vii. 
Sec.  ii).  This  is  the  only  place  in  the  scriptures  in  which  this 
instrument  is  mentioned.  The  engraving.  Fig.  xxvi.  No.  2,  on 
page  99,  is  supposed  to  represent  the  ancient  Hebrew  menaa- 
nim. 

Cymhah. — This  is  also  an  instrument  which  is  not  mentioned 
before.  The  Hebrew  term  is  '□'^ill^b!^  UeluHim^  a  plural  noun 
derived  from  the  verb  ^J^ii  Ualal^  in  the  Arabic        and  in 

Syriac  .  In  all,  it  means  to  tingle^  to  tinkle.  The  noun  sig- 
nifies a  tinkling,  tingling,  clinking,  ringing,  clanging.  It  may 
signify  a  clanging  instrumeat  of  music.  Gesenius  (vid.  his 
Heb.  Lex.  under  this  word)  thinks  that  the  word  here  signifies 
cymbals,  similar  to  those  now  used  in  martial  music.  Jahn  is 
sanguine  in  the  belief  that  the  term  should  be  translated  casta- 
nets, and  remarks,  that  they  are  used  at  the  present  day  in  the 
East.  There  were  anciently,  as  in  modern  times,  two  kinds, 
the  smaller  and  larger  cymbals.  The  smaller  ones  were  metal- 
lic plates  or  shells,  the  size  of  a  large  button.  Females,  when 
dancing,  had  two  fiistened  to  each  hand,  one  on  the  thumb  and 
the  other  on  the  middle  finger,  and  beat  them  against  each 
other,  thus  keeping  time.  Josephus*  describes  the  larger  kind 
as  broad,  large,  and  made  of  brass.  The  musician  held  one  in 
each  hand  and  struck  them  together,  keeping  time  as  is  custom- 
ary with  us  ;  but  the  dishes  of  ours  are  more  shallow  than 
those  in  the  East.  The  following  are  specimens  of  the  larger 
kind  taken  from  the  ruins  of  Egypt  (vid.  Fig.  xxxviii). 

*  Ant.  vii.,  xii.  3.    His  words  are  avfiSala  -K^urzia  koc  [xf:va7.a  x^'^k-^o,- 


176 


AXCIEXT  EGYPTIAN  CYMBALS. 


Fig.  xxxviii.  Specimens  of  the  small  kind  mfiy 

"be  fomid  in  Fig.  xxvii,  No.  1,  on  p. 
100,  supra. 

Judging  from  the  etymology  of 
the  word  indicating  them,  they  must 
have  been  pulsatile  instruments,  and 
probably  those  which  were  struck 

Two  larger  Ancient  Egyptian     against  each  other*     In  Zcch.  xiv. 

Cymbals.  20,  the  term  is  translated  bells,  re- 

ferring to  the  ancient  custom  of  attaching  them  to  horses. 
Camels  and  horses  sometimes  wear  bells  in  the  East  at  the  pres- 
ent day.  Probably  the  Hebrews  attached  small  pieces  of 
brass  to  the  necks  of  their  horses,  which  would  make  a  tinkling 
noise  when  they  moved.  The  Romans  attached  to  their  war- 
horses  pieces  of  metal  called  j!?Aa /area,  to  produce  terror  in  their 
enemies.  These  might  with  some  propriety  be  called  a  species 
of  cymbal. 

II  Samuel  vi.  14. 

And  David  danced  before  the  Lord  witli  all  Ms 
might ;  and  David  ivas  girded  with  a  linen  ephod. 

Danced. — "^^^^^^  m'*^Tcdrker,  part.  Palpel  from  "^^'2)  Icqrdr^ 
to  dance,  to  move  in  a  circle.  The  corresponding  Greek  word  is 
GicalpG)  skaird,  to  leap,  to  exult.  The  LXX  assert  that  David 
played  on  instruments  of  music.  This  was  probably  the  fact, 
while  the  ark  was  moving  towards  Jerusalem.  He  and  his  at- 
tendants doubtless  played  as  well  as  danced,  though  the  Hebrew 
term  only  refers  to  the  latter  exercise. 

II  Samuel  vi.  15,  16. 
15  So  David  and  all  the  house  of  Israel  brono^ht 

*  Cf.  Sonnerat's  Travels  in  the  East  Indies  and  China,  p.  3  ;  Kiiupfer  Amoen. 
Exot.  Ease;  Niebuhr  Reis.  1.  Th.  S.  184.  Tab.  xxviii. ;  Jahn's  Bib.  Arch.  § 
96  ;  Home's  Intro.  P.  iv.  ch.  vii.  Sec.  ii.  (vol.  ii.  p.  l8o.  Philadelphia  ed.  1SS6). 


II  SAMUEL  VI.  21. 


177 


up  the  ark  of  fhe  Lord  with  shouting,  and  with 
the  sound  of  the  trumpet.  16  And  as  the  ark  of 
the  Lord  came  into  the  city  of  David,  Michal,  SauPs 
daughter,  looked  through  a  window,  and  saw  king 
David  leaping  and  dancing  before  the  Lord ;  and 
she  despised  him  in  her  heart. 

Shouting — Sound  of  the  trumpet. — Every  demonstration  of 
joy  seems  to  have  been  made,  when  the  procession  with  the  ark 
of  the  covenant  solemnly  moved  towards  the  city  of  David. 
There  was  shouting,  singing,  dancing,  imdi  playing  upon  various 
instruments  of  music.  It  appears  that  the  crooked  trumpet  or 
shophar  was  one  of  the  instruments  used  on  that  august  occa- 
sion. From  the  sixteenth  verse,  we  learn  that  Saul's  daughter 
despised  David  when  she  saw  him  dancing,  rejoicing,  and  prais- 
ing God.  She  seemed  to  entertain  towards  him  some  of  the 
enmity  of  her  father. 

II  Samuel  vi.  21. 

And  David  said  unto  Michal,  It  tvas  before  the 
Lord,  which  chose  me  before  thy  father,  and  be- 
fore all  his  house,  to  appoint  me  ruler  over  the 
people  of  the  Lord,  over  Israel :  therefore  will  I 
play  before  the  Lord. 

I  will  play  (ij^pnip  sihhdqtly) — According  to  Gesenius,  this 
term  here  signifies  to  dance,  accompanied  with  song  and  instru- 
mental music  (vid.  Gesen.  Heb.  Lex.  under  pnilj)- 

II  Samuel  xv.  10. 


But  Absalom  sent  spies  throughout  all  the  tribes 


178 


Absalom's  treasox. 


of  Israel,  saying,  As  soon  as  ye  hear  the  sound  of 
the  trumpet,  then  ye  shall  say,  Absalom  reigneth 
in  Hebron. 

Absalom  had  wickedly  conspired  against  his  flither  David, 
and  was  making  preparations  to  take  possession  of  the  king- 
dom. His  plan  was,  to  retire  to  Hebron  apparently  for  the 
purpose  of  paying  a  vow,  and  there,  by  the  sound  of  the  trum- 
pet, to  proclaim  himself  king.  The  instrument  which  he  used 
w^as  the  shophar  or  tear  trumpet. 

II  Sazsiuel  xviii.  16. 

And  Joab  blew  the  trumpet,  and  the  j)eople  re- 
turned from  pursuing  after  Israel :  for  Joab  held 
back  the  people. 

It  appears  that  Absalom  failed  in  his  insurrection,  to  which 
reference  is  made  above,  and  came  to  a  miserable  end.  David's 
forces  subdued  the  rebels,  and  finally  the  ivar  trumpet  or  sho- 
phar was  sounded  as  a  signal  for  the  army  to  cease  the  pursuit. 

II  S A:\ruEL  xix.  35. 

I  am  this  day  fourscore  years  old :  and  can  I 
discern  between  good  and  evil  ?  can  thy  servant 
taste  what  I  eat  or  w^hat  I  drink  ?  can  I  hear  any 
more  the  voice  of  singing  men  and  singing  women  ? 
w^herefore  then  should  thy  servant  be  yet  a  burden 
unto  my  lord  the  king  ? 

These  are  the  words  of  Barzillai  the  Gileadite,  in  answer  to 
David,  who  desired  the  former  to  accompany  him  to  Jerusalem 
and  there  reside. 


II  SAMUEL  XX.  1,  22. 


179 


Singinrf  men  and  singing  women. — Literally  77iale  singers  and 
female  singers.  Females  (generally  the  daughters  of  Levites) 
as  well  as  males,  were  admitted  into  the  tabernacle  and  subse- 
quently temple  service.  Heman  had  fourteen  sons  and  three 
daughters,  skilled  in  music.  When  Ezra  enumerated  those 
who  returned  with  him  from  the  Babylonish  captivity,  he  reck- 
oned two  hundred  singing  men  and  singing  women.  In  the  tab- 
ernacle and  temple,  the  Levites,  both  male  and  female,  w^ere  the 
legal  musicians.  It  is  uncertain  whether  Barzillai  referred  to 
the  temple  service  or  to  private  music,  or  both,  and  it  is  imma- 
terial which.  He  evidently  intended  to  intimate  that,  on  ac- 
count of  his  age,  he  had  ceased  to  enjoy  the  pleasures  connected 
wdth  David's  splendid  court,  and  that  he  was  only  an  obstacle 
to  the  happiness  of  his  friends. 

II  Samuel  xx.  1,  22. 

1  And  there  happened  to  be  there  a  man  of 
Belial,  whose  name  tua-s-  Sheba,  the  son  of  Bichri,  a 
Benjaminite :  and  he  blew  a  trumpet,  and  said,  We 
have  no  pai-t  in  David,  neither  have  we  inheritance 
in  the  son  of  Jesse :  every  man  to  his  tents,  O  Is- 
rael. 

22  Then  the  woman  went  unto  all  the  people  in 
her  wisdom.  And  they  cut  off  the  head  of  Sheba, 
the  son  of  Bichri,  and  cast  it  out  to  Joab.  And 
he  blew  a  trumpet,  and  they  retired  from  the  city, 
every  man  to  his  tent.  And  Joab  returned  to  Je- 
rusalem unto  the  king. 

Sheba,  a  Benjaminite,  had  raised  a  rebellion  against  David, 
and  had  blown  the  war  trumpet  or  shophar  as  a  signal  of  revolt. 
From  the  twenty-second  verse,  we  perceive  that  he  was  taken 
and  slain  by  the  king's  army,  and  his  head  thrown  over  the 


180 


SONG  OF  DAVID. 


wall  to  Joab,  the  commander  of  David's  forces.  Then  the 
shophar  or  crooked  trumpet  was  blown,  as  a  signal  for  Joab  to 
raise  the  siege  and  retire  from  the  city  of  Abel. 

II  Saotel  XXII.  1-51. 

1  And  David  spake  unto  the  Lord  the  words  of 
this  song,  in  the  day  that  the  Lord  had  delivered 
him  out  of  the  hand  of  all  his  enemies,  and  out  of 
the  hand  of  Saul. 

2  The  Lord  is  my  rock,  and  my  fortress,  and  my  de- 

liverer. 

3  The  God  of  my  rock ;  in  him  will  I  trust : 

He  is  my  shield,  and  the  horn  of  my  salvation, 
My  high  tower,  and  my  refuge,  my  Saviour ; 
Thou  savest  me  from  violence. 

4  I  will  call  on  the  Lord  who  is  worthy  to  be  praised : 
So  shall  I  be  saved  from  mine  enemies. 

5  When  the  waves  of  death  compassed  me. 
The  floods  of  ungodly  men  made  me  afraid; 

6  The  sorrows  of  hell  compassed  me  about ; 
The  snares  of  death  prevented  me  ; 

7  In  my  distress  I  called  upon  the  Lord, 
And  cried  to  my  God ; 

And  he  did  hear  my  voice  out  of  his  temple, 
And  my  cry  did  enter  into  his  ears. 

8  Then  the  earth  shook  and  trembled  ; 
The  foundations  of  heaven  moved 
And  shook,  because  he  was  wroth. 

9  There  went  np  a  smoke  out  of  his  nostrils, 
And  fire  out  of  his  mouth  devoured : 
Coals  were  kindled  by  it. 

10  He  bowed  the  heavens  also,  and  came  down ; 
And  darkness  was  under  his  feet. 


II  SAMUEL  XXII.  1-51. 


181 


11  And  lie  rode  upon  a  cherub,  and  did  fly  : 
And  he  was  seen  upon  the  wings  of  the  wind. 

12  And  he  made  darkness  pavilions  round  about  him, 
Dark  waters,  and  thick  clouds  of  the  skies. 

13  Through  the  brightness  before  him 
Were  coals  of  fire  kindled. 

14  The  Lord  thundered  from  heaven, 
And  the  Most  High  uttered  his  voice. 

15  And  he  sent  out  arrows,  and  scattered  them ; 
Lightning,  and  discomfited  them. 

16  And  the  channels  of  the  sea  appeared, 

The  foundations  of  the  world  were  discovered, 

At  the  rebuking  of  the  Lord, 

At  the  blast  of  the  breath  of  his  nostrils. 

17  He  sent  from  above,  he  took  me ; 
He  drew  me  out  of  many  waters ; 

18  He  delivered  me  from  my  strong  enemy, 
And  from  them  that  hated  me. 

For  they  were  too  strong  for  me. 

19  They  prevented  me  in  the  day  of  my  calamity : 
But  the  Lord  was  my  stay. 

20  He  brought  me  forth  also  into  a  large  place : 
He  delivered  me,  because  he  delighted  in  me. 

21  The  Lord  rewarded  me  according  to  my  righteousness : 
According  to  the  cleanness  of  my  hands  hath  he  recom- 
pensed me. 

22  For  I  have  kept  the  ways  of  the  Lord, 

And  have  not  wickedly  departed  from  my  God. 

23  For  all  his  judgments  were  before  me: 

And  as  for  his  statutes,  I  did  not  depart  from  them. 

24  I  was  also  upright  before  him, 

And  have  kept  myself  from  mine  iniquity. 

25  Therefore  the  Lord  hath,  recompensed  me  according  to 

my  righteousness ; 


182 


SONG  OF  DAVID. 


According  to  my  cleanness  in  his  eye-siglit. 

26  With  the  merciful  thou  wilt  show  thyself  merciful, 
And  with  the  upright  man  thou  wilt  show  thyself  up- 
right. 

27  With  the  pure  thou  wilt  show  thyself  pure  ; 

And  with  the  froward  thou  wilt  show  thyself  un- 
savory. 

28  And  the  afflicted  people  thou  wilt  save : 
And  thine  eyes  are  upon  the  haughty, 
That  thou  mayest  bring  them  down. 

29  For  thou  art  my  lamp,  O  Lord : 

And  the  Lord  will  lighten  my  darkness. 

30  For  by  thee  I  have  run  through  a  troop: 
By  my  God  have  I  leaped  over  a  wall. 

81  As  for  God,  his  way  is  perfect ; 
The  word  of  the  Lord  is  tried : 
He  is  a  buckler  to  all  them  that  trust  in  him. 

32  For  who  is  God,  save  the  Lord  ? 
And  who  is  a  rock,  save  our  God? 

33  God  is  my  strength  and  power : 
And  he  maketh  my  way  perfect. 

34  He  maketh  my  feet  like  hinds' yee^f; 
And  setteth  me  upon  my  high  places. 

35  He  teach eth  my  hands  to  war : 

So  that  a  bow  of  steel  is  broken  by  mine  arms. 

36  Thou  hast  also  given  me  the  shield  of  thy  salvation : 
And  thy  gentleness  hath  made  me  great. 

37  Thou  hast  enlarged  my  steps  under  me ; 
So  that  my  feet  did  not  slip. 

38  I  have  pursued  mine  enemies,  and  destroyed  them ; 
And  turned  not  again  until  I  had  consumed  them. 

39  And  I  have  consumed  them, 

And  wounded  them,  that  they  could  not  arise: 
Yea,  they  are  fallen  under  my  feet. 


II  SAMUEL  XXII.  1-51. 


183 


40  For  thou  hast  girded  me  with  strength  to  battle: 
Them  that  rose  up  against  me  hast  thou  subdued  under 

me. 

41  Thou  hast  also  given  me  the  necks  of  mine  enemies, 
That  I  might  destroy  them  that  hate  me. 

42  They  looked,  but  there  tuas  none  to  save ; 
^ven  unto  the  Lord,  but  he  answered  them  not. 

43  Then  did  I  beat  them  as  small  as  the  dust  of  the  earth. 
I  did  stamp  them  as  the  mire  of  the  street, 

And  did  spread  them  abroad. 

44  Thou  also  hast  delivered  me  from  the  strivings  of  my 

people. 

Thou  hast  kept  me  to  he  head  of  the  heathen: 
A  people  icJiich  I  knew  not  shall  serve  me. 

45  Strangers  shall  submit  themselves  unto  me : 

As  soon  as  they  hear,  they  shall  be  obedient  unto  me 

46  Strangers  shall  fade  away, 

And  they  shall  be  afraid  out  of  their  close  places. 

47  The  Lord  liveth  :  and  blessed  be  my  rock ; 

And  exalted  be  the  God  of  the  rock  of  my  salvation. 

48  It  is  God  that  ave nge th  me, 

And  that  bringeth  down  the  people  under  me, 

49  And  that  bringeth  me  forth  from  mine  enemies : 
Thou  also  hast  lifted  me  up  on  high  above  them  that 

rose  up  against  me : 
Thou  hast  delivered  me  from  the  violent  man. 

50  Therefore  I  will  give  thanks  unto  thee,  0  Lord,  among 

the  heathen, 
And  I  will  sing  praises  unto  th\^  name. 

51  He  is  the  tower  of  salvation  for  his  kinsr : 
And  show^eth  mercy  to  his  anointed. 
Unto  David,  and  to  his  seed  for  evermore. 


184 


LAST  WOEDS  OF  DAVID. 


The  above  is  a  psalm  of  praise  containing  a  general  review 
of  God's  mercies  to  the  king  of  Israel  through  life,  and  the 
many  wonderful  deliverances  which  he  had  experienced.  This 
ode,  with  a  few  variations,  is  found  in  the  book  of  Psalms  (Ps. 
xviii).  We  have  it  here  as  originally  composed  by  David  for 
his  own  private  devotions.  In  Psalms  we  have  it  as  amended 
and  delivered  to  the  chief  musician  for  the  services  of  the  tem- 
ple. The  hymn  extends  through  the  chapter,  and  contains  "some 
of  the  finest  specimens  of  oriental  imagery  extant.  The  last 
words  of  David,  and  a  kind  of  supplement  to  this  hymn,  are 
found  in  the  twenty -third  chapter,  verses  1-7,  as  follows  : 

1  Now  these  be  the  last  words  of  David.  David, 
the  son-  of  Jesse,  said,  and  the  man  ^vho  iva-s  raised 
up  on  high,  the  anointed  of  the  God  of  Jacob  and 
the  sweet  Psalmist  of  Israel,  said : 

2  The  spirit  of  the  Lord  spake  by  me, 
And  bis  word  was  in  my  tongue. 

3  The  God  of  Israel  said, 

The  rock  of  Israel  spake  to  me, 

He  that  ruletb  over  men  must  5e  just, 

Ruling  in  tbe  fear  of  God. 

4  And  he  shall  be  as  tbe  light  of  tbe  morning, 

When  tbe  sun  risetb,  eveji  a  morning  without  clouds ; 
As  tbe  tender  grass  springing  out  of  tbe  earth, 
By  clear  shining  after  rain. 

5  Although  my  bouse  he  not  so  with  God, 

Yet  be  bath  made  with  me  an  everlasting  covenant, 
Ordered  in  all  tilings  and  sure; 
For  tliis  is  all  my  salvation  and  all  my  desire. 
Although  be  make  it  not  to  grow. 

6  But  the  sons  of  Belial  shall  he  all  of  them  as  thorns 

thrust  away. 
Because  they  cannot  be  taken  with  hands  : 


II  SAMUEL  XXII.  1-51. 


185 


7  But  the  man  that  shall  touch  them 

Must  be  fenced  with  iron  and  the  staff  of  a  spear ; 
And  they  shall  be  utterly  burned  with  fire  in  the  same 
place. 

The  two  books  of  Samuel  throw  much  light  upon  the  Psalms, 
and  may  be  considered  as  a  key  to  their  explanation.  Psalm 
iii.  is  elucidated  by  II  Samuel  xv.  14  and  onward  ;  Ps.  iv.  by  I 
Sam.  xxii.,  xxiii.,  and  xxvi ;  Ps.  vii.  by  II  Sam.  xvi.  2,  11  ;  Ps. 
xxiv.  by  II  Sam,  vi.  12  and  onward  ;  Ps.  xxx.  by  I  Sam.  v.  11 ; 
Ps.  xxxii,  and  li.  by  II  Sam.  xii ;  Ps.  xxxiv.  by  II  Sam.  xxi.  10- 
15;  Ps.  xxxv.  by  II  Sam.  xv.-xvii. ;  Ps.  xlii,  and  xliii.  by  II 
Sam.  xvii.  22-24;  Ps.  lii.  by  I  Sam.  xxii.  9;  Ps.  liv.  by  I 
Sam.  xxiii,  19,  and  xxvi.  I ;  Ps.  Iv.  by  II  Sam.  xvii.  21,  22;  Ps. 
Ivi.  by  I  Sam.  xxi.  11-15;  Ps.  Ivii.  by  I  Sam.  xxii.  1,  and 
xxiv.  3  ;  Ps.  lix.  by  I  Sam.  xix.  11  ;  Ps.  Ix.  by  II  Sam  viii.  3- 
13,  and  x.  15-19 ;  Ps.  Ixiii.  by  I  Sam.  xxii.  5,  and  xxiii.  14- 
16 ;  Ps.  Ixviii.  by  II  Sam.  vi.  3-12 ;  Ps.  Ixxxix  by  II  Sara.  vii. 
12 ;  Ps.  cxlii.  by  I  Sam.  xxii.  1,  and  xxiv.  1  and  onward. 


186 


TWO  BOOKS  OF  KINGS. 


THE  TWO  BOOKS  OF  KINGS. 

INTRODUCTORY  REMARKS. 

There  is  a  close  connection  between  the  books  of 
Samuel  and  those  of  Kings.  In  the  former  the  origin 
and  gradual  increase  of  the  united  kingdom  of  Israel 
under  Saul  and  David  are  described ;  and  in  the  latter  an 
account  is  given  of  that  kingdom  in  its  higher  state  of 
prosperity  under  Solomon,  its  division  under  his  son  and 
successor  Eehoboam,  the  causes  of  that  division,  and  the 
consequent  decline  of  the  two  kingdoms  of  Israel  and 
Judah,  until  their  subversion  after  Shalmaneser  had  car- 
ried the  ten  tribes  captive  into  Assyria,  and  Nebuchad- 
nezzar had  carried  Judah  and  Benjamin  captive  into 
Babylon. 

In  the  most  ancient  and  correct  editions  of  the  Hebrew 
Bible,  the  two  books  of  Kings  constitute  but  one.  They 
have  been  divided,  at  some  unknown  period,  into  two 
parts  for  the  convenience  of  the  reader. 

There  is  a  great  diversity  of  opinion  in  regard  to  the 
author  or  authors  of  these  books ;  but  the  most  probable 
supposition  is,  that  they  were  arranged  in  their  present 
order  by  Ezra  from  memoirs  written  by  different  persons, 
who  described  the  events  soon  after  their  occurrence. 


FIRST  BOOK  OF  KINGS. 

This  book  embraces  a  period  of  one  hundred  and 
twenty-six  years  from  the  anointing  of  Solomon  and  his 
admission  as  a  partner  in  the  throne  with  David  B.  C. 


I  KINGS  I.  34,  89. 


isr 


1015,  to  the  death  of  Jehoshaphat  B.  C.  889.  Tlie  Litter 
part  of  David's  life  is  described,  and,  in  general,  the  his- 
tory of  the  undivided  kingdom  of  Israel  under  Solomon 
is  given,  and  a  history  of  the  divided  kingdom  under  Ee- 
hoboam,  Jeroboam,  and  their  successors. 

I  Kings  i.  31,  39. 

And  let  Zadok  the  priest  and  Katlian  tlie  pro- 
phet anoint  liim  there  king  over  Israel :  and  blow 
ye  with  the  trumpet,  and  say,  God  save  king  Solo- 
mon. 

And  Zadok  the  priest  took  an  horn  of  oil  out  of 
the  tabernacle,  and  anointed  Solomon.  And  they 
blew  the  trumpet ;  and  all  the  people  said,  God 
save  king  Solomon. 

The  occasion  to  which  reference  is  made  in  these  verses,  was 
an  important  one,  viz.,  the  inauguration  of  Solomon  as  king  of 
Israel.    The  crooked  trumpet  or  sliojjhar  was  used. 

I  Kings  i.  40. 

And  all  the  people  came  up  after  him,  and  the 
people  piped  with  pipes,  and  rejoiced  with  great 
joy,  so  that  the  earth  rent  with  the  sound  of  them. 

After  Solomon  had  heen  anointed  king,  every  po.ssihle  de- 
monstration of  joy  was  exhibited  by  the  people. 

Piped  with  2^H^^-^' — Ti^®  Hebrew  is  fibH!!!  t]'^55rT)3 
m^hhalUllm  hahhHil'im^  literally,  piping  with  pipes,  or  Jiuting 
with  flutes.      These  were  undoubtedly  the    Hebrew  flutes 


188 


SOLOMON  A  MUSICIAN. 


{hhalldim),  ^vhieh,  according  to  Dr.  Jahn,  were  used  on  joyful 
as  well  as  on  mournful  occasions,  and  were  appropriate  instru- 
ments to  be  employed  at  the  coronation  (vid.  description  of 
this  instrument  in  the  remarks  on  I  Sam.  x.  5,  supra). 

It  is  said  that  the  people  piped^  indicating  that  many  of  these 
instruments  were  used.  Perhaps  some  had  the  double  flute, 
and  so  performed  the  bass  as  well  as  the  air. 

Rejoiced  with  great  joy. — The  original  of  this  denotes  a  loud 
expression  of  joy^  as  songs^  or  shouts.  There  must  have  been 
loud  bursts  of  mirth,  for  it  is  said  that  "  the  earth  rent  with 
the  sound  of  them." 

I  Kings  i.  41. 

And  Adonijali  and  all  the  guests  that  ivcre  with 
"him  heard  it  as  they  had  made  an  end  of  eating. 
And  when  Joab  heard  the  sound  of  the  trumpet, 
he  said,  Wherefore  is  this  noise  of  the  city  being 
in  an  uproar  ? 

Adonijah,  it  seems,  had  usurped  the  throne,  and  was  much 
surprised  when  he  heard  the  loud  rejoicing  and  sound  of  the 
shophar  or  crooked  trumpet,  announcing  the  fact  that  Solomon 
was  made  king  instead  of  himself. 

I  Kings  iv.  32. 

And  he  spake  three  thousand  proverbs  :  and  his 
songs  were  a  thousand  and  five. 

Solomon  was  distinojuished  for  his  wisdom,  excellino-  all  of 
his  contemporaries  in  the  East  and  even  in  renowned  Egypt  (vid. 
I  Kings,  iv.  30).  Like  his  father  David,  he  was  acquainted 
with  music,  and  composed  more  than  a  thousand  songs  to  be 
accompanied  in  their  recital  by  instrumental  music.  It  seemed 
to  be  an  essential  part  of  one's  education  in  those  early  times,  to 
be  thoroughly  mstructed  in  music. 


I  KINGS  X.  12. 


189 


I  KixGS  X.  12. 

And  tlie  king  made  of  the  almug  trees  pillars 
for  the  liouse  of  the  Loixl,  and  for  the  king's 
house,  harps  also,  and  psalteries  for  singers :  there 
came  no  such  almug  trees,  nor  were  seen  unto  this 
day. 

Solomon  constructed  of  the  almug  tree  not  only  pillars,  but 
instruments  of  music  for  the  temple  and  for  his  palace. 

Harps. — These  were  the  khuiois  (iTj'iSO  kinnorotk),  the  in- 
struments in  which  Solomon's  father,  David,  so  much  delighted 
(vid.  Rem.  on  Gen.  iv.  21,  supra). 

Psalteries. — These  were  the  nehhels  or  guitars  (t^'^iii 
n^bhalim^  vid.  Rem.  on  I  Sam.  x.  5,  svpra).  They  were  made 
of  the  almug  tree.  It  is  supposed  by  modern  interpreters 
that  this  was  the  red  sandal-wood,  which  now  grows  in  China 
and  in  the  Indian  Archipelago.  It  is  used  in  India  and  Persia, 
at  the  present  day,  for  costly  instruments  and  utensils  (vid. 
Gesen.  Heb.  Lex.  under  C^^'pbi^  almuggini). 

Harps  and  j^salieries  for  singers. — It  seems  by  this  expression 
that  those  instruments  were  made  for  singers,  implying  that 
they  not  only  played  on  instruments,  but  sung.  Ii  is  probable 
that  they  sung  at  the  same  time  that  they  performed  on  instru- 
ments, as  is  frequently  the  case  at  the  present  day. 


190 


HEBREW  MINSTRELS. 


SECOND  BOOK  OF  KINGS. 

INTRODUCTORY    REMARKS.  ' 

This  book  contains  tlie  history  of  the  two  kingdoms 
of  Israel  and  Judah  from  the  death  of  Jehoshaphat,  B.  C. 
889,  to  the  destruction  of  Jerusalem  and  the  temple  by 
Nebuchadnezzar,  B.  C.  588,  a  period  of  about  300  years. 
This  history  may  be  divided  into  two  parts.  1st.  That  of 
the  two  monarchies  of  Israel  and  Judah,  until  the  end  of 
the  former.  2d.  The  history  of  Judah  until  its  subver- 
sion. 

II  Kings  iii.  15. 

But  now  bring  me  a  minstrel.  And  it  came  to 
pass,  when  the  minstrel  played,  that  the  hand  of 
the  Lord  came  upon  him. 

Here  is  a  confirmation  of  the  fact,  that  the  ancient  seers  con- 
sidered music  as  peculiarly  adapted  to  prepare  their  minds  for 
prophetic  vision.  The  kings  of  Israel,  Judah,  and  Edom 
asked  the  prophet  Elisha  to  inquire  of  the  Lord  for  them,  as 
they  were  destitute  of  water  in  their  expedition  against  the 
Moabites.  The  seer  called  for  a  minstrel  to  play  before  him, 
and  when  he  heard  the  enchanting  sound  of  music,  the  hand  of 
the  Lord  came  upon  him — a  divine  enthusiasm  seemed  to  take 
possession  of  his  mind,  and  he  began  to  prophesy.  It  appears 
by  the  fourteenth  verse,  that  the  prophet  exercised  a  pious  in- 
dignation against  the  king  of  Israel,  and,  in  order  to  calm  his 
feelings,  it  seemed  to  be  necessary  for  him  to  listen  to  the 
sweet,  soothing  strains  of  oriental  music. 


II  KINGS  IX.  13. 


191 


Minstrel. — ('jti?''?  ^i^noggeii)  literally,  one  i:)laying  on  an  in- 
strument of  music — a  player  on  an  instrument. 

The  minstrel  played. — Literally,  tJce  jplayer  played.  The 
term  minstrel  is  a  word  introduced  into  .England  by  the  Nor- 
mans, and  included  singers,  performers  on  musical  instruments, 
also  jugglers,  dancers,  and  other  similar  persons  whose  profes- 
sion was  to  amuse  kings,  or  others  who  could  pay  them  for 
their  services.  In  some  periods  of  history  they  are  represent- 
ed as  the  friends  and  favorites  of  princes,  and  at  other  periods 
they  are  classed  with  beggars  and  vagabonds,  and  forbidden  to 
practise  their  arts.  Among  the  Hebrews,  as  we  think  from 
the  etymology  of  the  word,  they  were  performers  on  musical 
instruments,  and  perhaps  sung  an  accompaniment  at  the  same 
time. 

II  KlXGS  ix.  13. 

Then  tliey  hasted,  and  took  every  man  his  gar- 
ment, and  put  it  under  him  on  the  top  of  the 
stairs,  and  blew  with  trumpets,  saying,  Jehu  is 
king. 

Elisha  directed  one  of  the  sons  of  the  prophets  to  go  to  Ra- 
moth  Gilead  and  anoint  Jehu  king  over  Israel.  lie  did  so,  and 
Jehu's  attendants  blew  the  shopltar  or  crooked  trumpet,  and 
proclaimed  him  king.  In  the  original  the  singular  number  is 
used,  though  reference  is  made  to  more  than  one  trumpet. 

II  KmGS  xi.  14. 

And  when  she  looked,  behold,  the  kins:  stood 
by  a  pillar,  as  the  manner  wa-?^  and  the  princes  and 
the  trumpeters  by  the  king,  and  all  the  people  of 
the  land  rejoiced,  and  blew  with  trumpets:  and 


192 


HEBREW  TRUMPETERS. 


Atlialiali  rent  lier  clotlies,  and  cried,  Treason,  trea- 
son ! 

Athaliah  had  usurped  the  throne  of  Israel,  and  to  secure  her 
authority  had  slahi  all  the  seed  royal  of  David  that  she  could 
find.  It  happened,  ho\yever,  that  Joash,  the  son  of  Ahaziah, 
who  had  been  concealed,  was  proclaimed  king,  and  it  is  not 
strange  that  Athaliah  cried  treason.  The  occasion  was  an  inir 
portant  one,  and  trumpeters  were  present. 

Bleio  with  trumpets^  i.  e.,  with  straight  trumpets  {hatsotseroth^ 
vid.  Rem.  on  Num.  x.  2,  supra). 

II  KmGS  xii.  13. 

Howbeit,  there  were  not  made  for  tlie  liouse  of 
tlie  Lord  bowls  of  silver,  snuffers,  basins,  trumpets, 
any  vessels  of  gold  or  vessels  of  silver  of  the 
money  that  was  brought  into  the  house  of  the 
Lord. 

Trumpets — {liatsotseroth')  straight  trumpets.  —  In  repairing 
the  temple,  it  seems  that  the  trumpets  and  other  implements, 
here  named,  were  not  made  of  the  money  which  was  brought 
into  the  house  of  the  Lord,  as  that  was  designed  to  pay  the 
workmen  laboring  upon  the  temple  itself.  Perhaps  some  of 
these  Implements  had  been  previously  made,  or  were  con- 
structed out  of  other  materials. 


THE  BOOKS  OF  CHRONICLES. 


193 


THE  BOOKS  OF  CHROXICLES. 

IXTRODUCTORY  REMARKS. 

The  Jews  called  these  books  tn^^^^n  ^-,^1  dibhrey  liayyct- 
mim,  i.  e.,  the  words  of  the  days  or  annals,  probably  be- 
cause they  were  compiled  from  diaries  or  annals.  The  LXX 
designate  them  by  IIAPAAEmOMENA  Paraleijpomena^ 
the  things  left  or  omitted,  supposing  them  to  be  a  supple- 
ment either  to  Samuel  and  the  book  of  Kings,  or  to  the 
whole  Bible.  Jerome  gave  them  the  name  of  Chronicles, 
because  they  contain  an  abstract  of  sacred  history  up  to 
the  time  in  w^hich  they  were  written. 

They  were  undoubtedly  compiled  from  other  records, 
prepared  at  different  times  before  and  after  the  Babylonish 
captivity,  as  it  is  evident  that  they  are  not  the  original 
and  more  copious  chronicles  to  which  there  are  so  frequent 
references  in  the  books  of  Kings. 

It  is  uncertain  who  wrote  the  Chronicles.  It  is  evident, 
however,'  that  they  were  compiled  by  some  person  who 
lived  after  the  captivity,  and  that  he  obtained  his  materials 
from  the  memoirs  of  writers  contemporary  with  the  events 
recorded,  and  who  flourished  long  before  his  time. 

The  object  of  the  books  of  Chronicles  is  to  present  ac- 
curately the  genealogies,  dignity,  powers,  and  order  of  the 
priests  and  Levites,  that  they  might  be  prepared  after  the 
captivity  to  assume  again  their  proper  rank,  and  reenter 
the  sacred  office.  The  author  wished  further  to  show  how 
the  lands  had  been  distributed  among  the  families  before 
the  captivit}^,  so  that  the  tribes  could,  upon  their  return, 
obtain  the  original  inheritance  of  their  fathers.  Ancient 
9 


194 


EEMOVAL  OF  THE  ARK. 


records  are  quoted,  and  four  rolls  or  uumberings  of  the 
people  are  recited. 

The  Chronicles  are  an  abridgment  of  sacred  history, 
but  especially  during  that  period  which  elapsed  between  the 
first  establishment  of  the  Jewish  nation  and  their  return 
from  the  first  captivity. 

The^7'5^  hook  describes  the  rise  and  propagation  of  the 
people  of  Israel,  and  subsequently  gives  a  particular  ac- 
count of  the  reign  and  transactions  of  David.  In  the 
second  hooh  the  narrative  is  continued.  The  progress  and 
dissolution  of  the  kingdom  of  Judah,  up  to  the  year  of 
the  return  of  the  Jews  from  the  Babylonish  captivity,  are 
described.  The  period  embraced  in  Chronicles  is  about 
3468  years. 

I  CHROmCLES  vi.  31-33. 

31  And  tbese  are  tliey  whom  David  set  over  tlie 
service  of  song  in  the  house  of  the  Lord,  after  that 
the  ark  had  rest.  32  And  they  ministered  before 
the  dwelling-place  of  the  tabernacle  of  the  con- 
gregation with  singing,  until  Solomon  had  built  the 
house  of  the  Lord  in  Jerusalem:  and  then  they 
waited  on  their  office  according  to  their  order. 
33  And  these  are  they  that  waited,  with  their 
children.  Of  the  sons  of  the  Kohathites ;  Heman 
a  singer,  the  son  of  Joel,  the  son  of  Shemuel. 

These  verses  refer  to  the  arrangements  in  the  tabernacle, 
and  first  temple  built  by  Solomon.  After  the  ark  was  re- 
moved from  the  house  of  Obed-edom  (II  Sam.  vi.  7),  and 
deposited  in  the  tabernacle  erected  by  David  (I  Chron.  xvi.  1), 
the  king  appointed  suitable  persons  to  sing  and  play  upon 
musical  instruments  before  that  sacred  treasure. 


I  CHROXICLES  IX.  33. 


195 


Wifh  singing  (v.  3*2). — The  Septuagint  renders  this  kv 
6fy)'di'oic  en  organois,  on  organs,  thus  indicatiDg  that  musical  in- 
struments were  used.  The  Hebrew  term  is  properly  trans- 
lated in  the  English  version,  though  it  is  doubtless  true  that 
those  who  ministered  before  the  ark  not  onlv  sung,  but  per- 
formed upon  instruments  of  music.  David  appointed  four 
thousand  of  the  Levites  to  be  singers  before  the  ark  in  the 
tabernacle,  and  the  arrangement  was  subsequently  confirmed 
by  Solomon,  after  the  temple  was  completed  (11  Chron.  viii.  14). 

I  CHPwO^^CLES  ix.  33. 

And  these  are  the  singers,  chief  of  the  fathers  of 
the  Levites,  ivho  remaining  in  the  chamhei-s  were 
free:  for  they  were  emploj-ed  in  that  work  day  and 
nicfht. 

It  appears  that  there  were  services  in  the  tabernacle  at  night 
as  well  as  during  the  dav.  We  read  in  I  Chron.  xxiii.  30,  of 
the  Levites  standing  every  morning  and  evening  in  the  taber- 
nacle to  thank  and  praise  the  Lord.  The  lamps  of  the  golden 
candlesticks  were  lighted  at  evening,  and  kept  burning  during 
the  night.  There  were  morning  and  evening  sacrifices,  and  the 
Levites  were  in  constant  attendance,  in  the  temple,  day  and 
night,  and  ready  to  perform  by  turns  any  required  servic-e. 
The  singers  seem  to  have  been  persons  of  influence,  as  they  are 
called  "  chief  of  the  fathers  of  the  Levites." 

I  CHr.oxiCLES  xiii.  S. 

And  David  and  all  Israel  played  before  God 
with  all  their  might,  and  with  singing,  and  with 
harps,  and  with  psalteries,  and  with  timbrels,  and 
with  cymbals,  and  with  trumpets. 


196 


GRAND  HEBREW  PROCESSION. 


This  refers  to  the  solemn  ceremony  of  carrying  the  ark  from 
Kirjath-jearim  to  the  city  of  David.  Reference  is  made  to  the 
same  circumstance  in  II  Sam.  vi.  5,  where  the  musicians  are 
said  to  have  played  upon  all  manner  of  instruments  made  of 
fir-wood,  even  on  harps,  psalteries,  timbrels,  cornets,  and  cym- 
bals. The  same  instruments  are  mentioned  in  both  places  with 
two  exceptions.    In  Samuel  tD^^^'D^D^^^  bimndahn'im,  translated 

cornets^  occurs,  which  is  not  found  in  the  parallel  passage  in  I 
Chronicles.  These  were  undoubtedly  a  species  of  timbrels,  and 
not  wind  instruments  as  the  erroneous  English  translation  of 
"cornets"  implies  (vid.  Rem.  on  II  Sam.  vi.  5).  The  passage 
in  I  Chronicles  has  trumpets^  not  mentioned  in  II  Samuel.  The 
Hebrew  word  is  Jnil^^n^  hdhlfitsMroth^  the  straight  trum- 
pets so  frequently  mentioned  in  previous  j^assages. 

I  Chkokecles  XV.  16,  19,  20,  21,  22,  24,  27,  28,  29. 

16  And  David  spake  to  the  chief  of  the  Levitcs, 
to  appoint  their  brethren  to  he  the  singers  with 
instruments  of  music,  psalteries,  and  harps,  and 
cymbals,  sounding,  by  lifting  up  the  voice  with 

joy- 

19  So  the  singers,  Heman,  Asaph,  and  Ethan, 
were  appointed  to  sound  with  cymbals  of  brass ; 
20  And  Zechariah,  and  Aziel,  and  Shemiramoth, 
and  Jehiel,  and  Unni,  and  Eliab,  and  Maaseiah,  and 
Benaiah,  with  psalteries  on  Alamoth;  21  And 
Mattathiah,  and  Elipheleh,  and  Mikneiah,  and 
Obed-edom,  and  Jeiel,  and  Azaziah,  with  harps 
on  the  Sheminith  to  excel.  22  And  Chenaniah, 
chief  of  the  Levites,  was  for  song :  he  instructed 
about  the  song,  because  he  loas  skillful. 


I  CHRONICLES  XV.  16,  19-22,  24,  27-29. 


197 


24  And  Sliebaniah,  and  Jeliosliapliat,  and  Ne- 
thanee],  and  Amasai,  and  Zecbariali,  and  Benaiali, 
and  Eliezer,  the  priests,  did  blow  with  the  trum- 
pets before  the  ark  of  Go'd :  and  Obed-edom  and 
Jehiah  were  door-keepers  for  the  ark. 

27  And  David  loa-s  clothed  with  a  robe  of  fine 
linen,  and  all  the  Levites  that  bare  the  ark,  and 
the  sin2:ers,  and  Chenaniah  the  master  of  the  sons^ 
with  the  singers:  David  also  had  upon  him  an 
ephod  of  linen.  28  Thus  all  Israel  brought  up 
the  ark  of  the  covenant  of  the  Lord  with  shouting, 
and  with  sound  of  the  cornet,  and  with  trumpets, 
and  with  cymbals,  making  a  noise  with  psalteries 
and  harps.  29  And  it  came  to  pass,  as  the  ark  of 
the  covenant  of  the  Lord  came  to  the  city  of  David, 
that  Michal,  the  daughter  of  Saul,  looking  out  at  a 
window,  saw  king  David  dancing  and  playing ;  and 
she  despised  him  in  her  heart. 

These  passages  refer  to  the  grand  procession  which  accom- 
panied the  ark  to  Jerusalem.  Three  months  before,  David, 
with  a  large  number  of  his  people,  took  this  sacred  treasure 
from  Kirjath-jearim,  as  related  in  II  Sam.  vi.  2-11,  and  I  Chron. 
xiii.  3-14.  While  they  were  moving  towards  Jerusalem, 
Uzza  put  forth  his  hand  to  steady  the  ark,  and  was  immedi- 
ately struck  dead  by  its  side.  David  was  offended  at  this 
severity  from  the  hand  of  the  Lord,  and  feared  to  receive  the 
ark  into  Jerusalem.  It  was  therefore  deposited  in  the  house 
of  Obed-edom,  the  Gitite.  At  the  end  of  three  months,  the 
king  was  desirous  to  remove  it  to  the  Holy  City,  and  proceeded 
with  singers,  musicians,  and  the  high  officers  of  his  court,  to 
perform  the  ceremony.  The  passages  above  cited  refer  to  that 
occasion  (vid.  II  Sam.  vi.  12-17;  I  Chron.  xv.  25-29).  The 


198 


GRAND  HEBREW  PROCESSION. 


procession  was  doubtless  similar  to  the  one  that  conveyed  the 
ark  from  Kirjath-jearim  to  the  house  of  Obed-edom  three 
months  before.  Probably  the  instruments  of  music  used  on 
both  occasions  were  the  same,  though  more  are  named  as  used 
on  the  former  than  on  the  latter  occasion.  Those  mentioned 
in  II  Sam.  vi.  5,  and  used  when  the  ark  was  conveyed  from 
Kirjath-jearim  to  the  house  of  Obed-edom,  are  kinnors,  7iebhels^ 
iophs,  meuaanim,  and  iseltselim,  translated  harps^  psalteries^ 
timbrels,  cornets,  and  cymbals,  and  in  I  Chron.  xiii.  8,  kinnors, 
nebhels,  iophs,  meisiltayim,  and  hatsoiseras,  translated  harps, 
p)salteries,  timbrels,  cymbals,  and  trumpets.  In  I  Chron.  xv.  28, 
the  instruments  named,  and  employed  when  the  ark  was  re- 
moved from  the  house  of  Obed-edom  to  the  city  of  David,  are 
shophars,  hatsotseras,  metsiltayim,  nebhels  and  kinnors,  translated 
the  cornet,  trumpets,  cymbals,  psalteries,  and  harps.  It  will  be 
perceived  that  toi^hs,  menaan'im,  and  tseltselim,  mentioned  in  II 
Sam.  vi.  5,  and  I  Chron.  xiii.  8,  are  not  found  in  I  Chron.  xv. 
28,  and  shophar,  in  the  latter  passage,  is  not  found  in  the  for- 
mer verses.  It  is  probable,  however,  that  on  both  occasions, 
the  instruments  of  music  did  not  materially  vary  in  kind  or 
number.  The  writer  may  not  have  thought  it  necessary,  in 
enumerating  them,  to  be  so  explicit  and  full  in  respect  to  the 
latter,  as  in  reference  to  the  former  procession. 

In  our  English  translation,  cornets  are  named  as  being  used 
in  both  processions;  but  different  Hebrew  words  are  employed, 
indicating  different  instruments  in  those  cases.    In  II  Sam.  vi. 

d^3^!D3^'5)2i  liijnnaan'im  is  translated  on  cornets;  but  it  was 

evidently  a  kind  of  timbrel — an  instrument  which  was  shaken 
(vid.  Rem.  on  II  Sam.  vi.  5,  siqora),  and  not  a  unnd  instrument. 
In  I  Chron.  xv.  28,  the  word  translated  cornet  is  "i3lt2J  shophar, 

the  crooked  trumpet.  The  cornet  is  now  but  little  known,  as 
more  than  a  century  ago  it  gave  place  to  the  hautboy.  There 
were  three  kinds  of  these  instruments,  designed  for  the  treble, 
tenor,  and  bass.  The  treble  and  tenor  instruments  were  simple 
curvilineal  tubes,  about  three  feet  in  length,  gradually  increasing 


I  CHRONICLES  XV.  19,  20. 


199 


in  diameter  from  the  mouth-piece  towards  the  lower  end.  The 
bass  cornet  was  a  tube  of  a  serpentine  form,  four  or  five  feet  in 
length,  and  increasing  in  diameter  in  like  manner. 

The  shophar  might  be  considered  as  a  kind  of  bass  cornet, 
and  consequently  designated  by  that  name;  but  it  is  more  cor- 
rectly called  a  crooked  trumpet.  The  real  cornet  was  of  much 
later  origin.  The  expression,  ^''instruments  of  music''''  (v.  16), 
signifies,  literally,  instruments  of  song  ("I'^IU'-'^bD^  b  'lJcley  shir). 

k^lejj  is  a  noun  in  the  construct  state  and  derived  from  the  verb 

nj3  ^'['J'^!.-)         completed^  ready.     The  noun  signifies  an  im- 

T  T 

plement  or  instrument,  and  sometimes  an  instrument  of  music, 
especially  when  connected  with  -ji'^j;  sliir. 

Singers  ivith  instruments  of  music. — The  expression  indicates 
that,  in  this  case,  vocal  was  accompanied  by  instrumental  music. 

Sounding. — There  is  probably  a  reference  here  to  the  music 
of  the  whole  choir,  both  vocal  and  instrum.ental. 

Verse  19.  Cymbals  of  brass. — This  is  indicated  in  the  orig- 
inal by  one  word,  signifying  cymbals.  It  is  the  same  word 
which  is  used  in  verse  28,  and  translated"  cijmbals.  These 
instruments  were  made  of  brass:  hence  that  is  added  in  the 
translation  of  verse  19. 

Verse  20.     With  psalteries  on  alamoth. 

^Icjmoth  denotes  virgins. — Gescnius  supposes  that 

the  expression  al  Hamoth  which  occurs  here,  means,  after  the 
manner  of  virgins,  i.  e.,  with  the  female  voice,  referring  to  the 
part  usually  sung  by  females,  which  is  our  treble.  Hengsten- 
berg,  Tholuck,  and  others,  take  a  similar  view.  Calmet  sup- 
poses that  it  means  a  chorus  of  female  voices.  The  etymology 
of  the  word  evidently  refers  to  females,  and  it  very  probably 
indicates  that  part  of  a  tune  called  treble,  and  may  have  indica- 
ted, in  som.e  cases,  a  full  choir  on  that  part  (vid.  Remarks  on 
Ps.  ix,  and  xlvi,  infra).  It  occurs  in  connection  with  the  ?iebhel 
or  psaltery  (similar  to  our  guitar),  which  is  an  appropriate  in- 
strument for  females. 


200 


HEBREW  MUSICAL  SCALE. 


In  the  passage  under  consideration  (v.  20),  Zecliariali,  Aziel, 
Shemiramoth,  Jeliiel,  Unni,  Eliab,  Maaseiah,  and  Benaiab,  ^Yere 
appointed  to  perform  ^vith  psalteries  on  Alamoil/,  i.e.,  the  treble, 
according  to  the  above  explanation. 

Wiik  harps  on  ike  S/Vmiinth  — This  is  an  ordinal 

adjective  from  Ht't^'ui  Sh^moneh,  the  eighth.    The  word  here 

used  is  in  the  feminine  gender,  and  signifies  octave  in  music. 
It  denoted  among  the  Hebrews  the  lowest  and  gravest  notes  of 
the  scale,  sung  by  males.  It  is  similar  to  the  modern  bass,  and 
is  opposed  to  the  term  i^i'Oi^  ^hijtibth.    The  former  refers  to 

the  descending,  and  the  latter  to  the  ascending  scale;  the  former 
to  the  octave  below,  and  the  latter  to  the  octave  above.  There 
is  no  philological  reason  to  suppose  that  either  of  these  terms 
referred  to  an  instrument  of  music  as  some  have  maintained 
(vid.  Rem.  on  Ps.  vi.  infra). 

I  CiiR0]N-iCLE3  xvi.  5-36,  42,  43. 

5  Asaph  tlie  chief,  and  next  to  him  Zechariah, 
Jeiel,  and  Shemiramoth,  and  Jehiel,  and  Matti- 
thiah,  and  EUab,  and  Benaiah,  and  Obed-edom : 
and  Jeiel  with  psalteries  and  with  harps;  bat  Asaph 
made  a  sound  with  cymljals :  6  Benaiah  also  and 
Jahaziel  the  priests  with  trumpets  continually  be- 
fore the  ark  of  the  covenant  of  God.  7  Then  on 
that  day  David  delivered  first  tills  psalm  to  thank 
the  Lord  into  the  hand  of  Asaph  and  his  brethren. 

8  Give  thanks  unto  the  Lord, 
Call  upon  his  name, 

Make  known  his  deeds  among  the  people. 

9  Sing  unto  him, 

Sing  psalms  unto  him, 

Talk  ye  of  all  his  wondrous  works. 


I  CHRONICLES  XVI.  5-36,  42,  43.  201 

10  Glory  ye  in  his  holy  name : 

Let  the  heart  of  them  rejoice  that  seek  the  Lord. 

11  Seek  the  Lord  and  his  strength, 
Seek  his  face  continually. 

12  Eemember  his  marvellous  works  that  he  hath  done, 
His  wonders,  and  the  judgments  of  his  mouth; 

13  Q  ye  seed  of  Israel  his  servant, 

Ye  children  of  Jacob,  his  chosen  ones. 

14  He  is  the  Lord  our  God ; 

His  judgments  are  in  all  the  earth. 

15  Be  ye  mindful  al-ways  of  his  covenant ; 

The  word  which  he  commanded  to  a  thousand  genera- 
tions ; 

16  Even  of  the  covenant^  which  he  made  with  Abraham, 
And  of  his  oath  unto  Isaac ; 

17  And  hath  confirmed  the  same  to  Jacob  for  a  law, 
And  to  Israel ybr  an  everlasting  covenant, 

18  Sa3nng,  Unto  thee  will  I  give  the  land  of  Canaan, 
The  lot  of  your  inheritance ; 

19  When  ye  were  but  few. 

Even  a  few,  and  strangers  in  it. 

20  And  y)hen  they  went  from  nation  to  nation, 
And  from  one  kingdom  to  another  people ; 

21  He  suffered  no  man  to  do  them  wrong : 
Yea,  he  reproved  kings  for  their  sakes. 

22  Saying^  Touch  not  mine  anointed. 
And  do  my  prophets  no  harm. 

23  Sing  unto  the  Lord,  all  the  earth ; 

Show  forth  from  day  to  day  his  salvation. 

24  Declare  his  glory  among  the  heathen  ; 
His  marvellous  works  among  all  nations. 

25  For  great  is  the  Lord  and  greatly  to  be  praised ; 
He  also  is  to  be  feared  above  all  gods. 

26  For  all  the  gods  of  the  people  are  idols : 


202 


SONG  OF  DAVID. 


Bat  the  Lord  made  the  heavens. 

27  Glory  and  honor  are  in  his  presence ; 
Strength  and  gladness  are  in  his  place. 

28  Give  unto  the  Lord,  ye  kindreds  of  the  people, 
Give  unto  the  Lord  glory  and  strength. 

29  Give  unto  the  Lord  the  glory  due  unto  his  name : 
Bring  an  offering,  and  come  before  him  : 
Worship  the  Lord  in  the  beauty  of  holiness. 

30  Fear  before  him,  all  the  earth ; 

The  world  also  shall  be  stable,  that  it  be  not  moved. 
81  Let  the  heavens  be  glad,  and  let  the  earth  rejoice: 
And  let  men  say  among  the  nations,  The  Lord  reigneth. 

32  Let  the  sea  roar,  and  the  fulness  thereof: 
Let  the  fields  rejoice,  and  all  that  is  therein. 

33  Then  shall  the  trees  of  the  wood  sing  out  at  the  pres- 

ence of  the  Lord, 
Because  he  cometh  to  judge  the  earth. 

31  0  give  thanks  unto  the  Lord,  for  he  is  good ; 
For  his  mercy  endureth  for  ever. 

35  And  say  ye.  Save  us,  O  God  of  our  salvation, 

And  gather  us  together,  and  deliver  us  from  the  heathen, 
That  we  may  give  thanks  to  thy  holy  name,  and  glory 
in  thy  praise. 

36  Blessed  he  the  Lord  God  of  Israel  for  ever  and  ever. 
And  all  the  people  said,  Amen,  and  praised  tlie 

Lord. 

42  And  with  tliem  Heman  and  Jeduthiin,  with 
trumpets  and  cymbals  for  those  that  should  make 
a  sound,  and  with  musical  instruments  of  God. 
And  the  sons  of  Jeduthun  were  porters.  43  And 
all  the  people  departed  every  man  to  his  house, 
and  David  returned  to  bless  his  house. 


I  CHRONICLES  XVI.  5-3G,  42,  43. 


203 


These  passages  refer  to  the  solemn  ceremonies  observed  at 
Jerusalem,  in  view  of  the  arrival  of  the  ark  from  the  house  of 
Obed-edom  the  Gitite.  The  sacred  treasure  was  placed  in  the 
midst  of  the  tent  which  David  had  prepared  for  the  purpose. 
Burnt  and  peace  offerings  were  then  made  to  Jehovah.  The 
king  blessed  the  people,  and  appointed  Levites  to  minister  be- 
fore the  ark  and  celebrate  the  praises  of  the  Lord.  The  ar- 
rangements seem  to  have  been  made  on  a  grand  scale.  It  was 
a  solemn  yet  joyful  occasion,  and  the  priests  in  their  sacerdotal 
robes,  with  David  at  their  head,  worshipped  before  God.  The 
sacred  singers  were  also  called  upon  to  sound  forth  their  highest 
songs  of  praise.  Asaph,  Heman,  and  Jeduthun,  chiefs  of  the 
choir,  led  off  the  anthems  upon  cymbals  and  trumpets. 

Psalteries  and  Harps  (v.  5). — These  were  the  same  kinds  of 
instruments  as  those  mentioned  in  I  Sam.  x.  5,  and  Gen.  iv.  21. 
In  the  Septuagint  OQyavov^  organ^  is  mentioned  in  addition  to  the 
other  instruments ;  but  we  do  not  perceive  by  what  authority, 
as  it  is  not  found  in  the  Hebrew  text. 

Cymbals  (verses  5,  42). — The  Hebrew  word  is  Q^lnb;;^)^ 

m^isilidyim,  in  the  dual  number  from  m^lselelh,  a  differ- 

ent word  from  that  used  for  cymbals  in  some  other  passages, 
though  it  has  the  same  derivation,  viz.,  from         isaldl^  to  tinkle 

~  T 

(vid.  II  Sam.  vi.  5,  siipra,  and  Rem.  on  II  Chron.  xxix.  25,  infra). 
Trumpets  (verses  6,  42). — These  were  the  liatsotseras^  or 
straight  silver  trumpets,  the  same  as  those  mentioned  in  Num. 
X.  2.  It  appears  that  David  presented  this  psalm  to  Asaph 
and  his  brethren.  It  contains  several  references  to  music, 
but  nearly  similar  to  those  which  we  have  already  considered. 
The  expression  "  then  shall  the  trees  of  the  wood  sing  out " 
(v.  33),  varies  a  little.    The  Hebrew  term  y^rann^nu^ 

shall  sing,  is  from  l]^-)  ranan,  to  give  forth  a  treimilous  sound. 
The  Psalmist  probably  refers  to  the  musical  voice  of  nature  in 
the  forests  as  the  gentle  zephyrs  breathe  upon  the  trees. 

Musical  instruments  of  God  (v.  42). — k^ky  shiVj 


204 


MUSIC  OF  THE  TEMPLE. 


literally  instruments  of  song.    'iJd  ^^hu     ^  general  term  and 

may  refer  to  any  kinds  of  musieal  instruments.  Of  God. 
This  indicates  that  the  reference  is  to  sacred  instruments — those 
used  in  the  services  of  the  temple.  The  LXX.  have  opyava  (xidcjv 
organa  oddn,  instruments  of  song. 

I  CHEomcLES  xxiii.  5. 

Moreover  four  thousand  wej'e  porters :  and  four 
thousand  praised  the  Lord  with  the  instruments 
which  I  made,  said  David^  to  praise  tlierewitli. 

The  music  for  the  temple  was  arranged  upon  a  grand  scale. 
Such  an  immense  number  of  performers,  and  all  probably  well 
trained,  must  have  produced  tremendous  choruses  in  the  house 
of  the  Lord.  The  reverberations  through  the  spacious  domes 
of  that  sacred  edifice  must  have  been  solemn  and  majestic. 

Instruments. — There  seems  to  be  a  reference  here,  as  in 
1  Chron.  xvi.  42,  to  all  of  the  sacred  instruments  used  by  the 
Levites. 

Which  I  made. — We  are  not  to  suppose  that  David  con- 
structed these  instruments  with  his  own  hands ;  but  that  they 
were  manufactured  by  his  direction  and  under  his  supervision. 

I  ChEOXICLES  XXV.  1-7. 

1  Moreover  David  and  the  captains  of  the  host 
separated  to  the  service  of  the  sons  of  Asaph,  and 
of  Heman,  and  of  Jeduthun,  who  should  prophesy 
with  harps,  with  psalteries,  and  with  cymbals ;  and 
the  number  of  the  workmen  according  to  their 
service  was :  2  Of  the  sons  of  Asaph ;  Zaccur,  and 
Joseph,  and  Nethaniah,  and  Asarelah,  the  sons  of 
Asaph  under  the  hands  of  Asaph,  which  prophe- 


I  CHRONICLES  XXV.  1-7. 


205 


sied  according  to  tlie  order  of  tlie  king.  3  Of  Jedu- 
thun :  the  sons  of  Jedutlmn  ;  Gedaliah,  and  Zeri, 
and  Jeshaiah,  Hasbabiah,  and  Mattitliiah,  six,  under 
the  hands  of  their  father  Jeduthun,  who  prophe- 
sied with  a  harp,  to  give  thanks  and  to  praise  the 
Lord.  4  Of  Heman :  the  sons  of  Heman  ;  Buk- 
kiah,  Mattaniah,  Uzziel,  Shebnel,  and  Jerinioth, 
Hananiah,  Hanani,  Eliathah,  Giddalti,  and  Ro- 
mamti-ezer,  Joshbekashah,  Mallothi,  Hothir,  and 
Mahazioth :  5  All  these  xoere  the  sons  of  Heman  the 
king's  seer  in  the  words  of  Grod,  to  lift  up  the  horn. 
And  God  gave  to  Heman  fourteen  sons  and  three 
daughters.  6  All  these  ivere  under  the  hands  of  their 
father  for  song  in  the  house  of  the  Lord,  with 
cymbals,  psalteries,  and  harps,  for  the  service  of  the 
house  of  God,  according  to  the  king's  order  to 
Asaph,  Jeduthun,  and  Heman.  7  So  the  number  of 
them,  with  their  brethren  that  were  instructed  in 
the  songs  of  the  Lord,  even  all  that  were  cun- 
ning, icas  two  hundred  fourscore  and  eight. 

These  verses  refer  to  the  arrangeinents  made  in  respect  to  the 
temple  service  :  Harps^  psalteries,  cymbals,  the  horii^  and  song, 
are  mentioned  as  before  ;  but  we  are  informed  also  that  the  per- 
formers were  to  prophesy  with  these  instruments. 

The  term  in  the  original  is  Q'^J^^lSS  nibh^im,  from  jj^;^^ 

nahha,  to  hoil  vp,  to  pour  oat  words  with  emotion,  to  prophesy. 
A  secondary  meaning  of  it  is,  to  chant,  to  sing  sacred  songs,  to 
praise  God  while  under  divine  influence.  The  will  of  God 
was  made  known  to  the  prophets  in  various  ways,  but  espe- 
cially by  direct  inspiration,  \\\i\Q\\  Maimonides,  one  of  the  most 
learned  of  the  Jewish  doctors,  explains  to  be  a  divine  impulse^ 


206 


THE  PROPHETS  MUSICIANS. 


enahlinrj  and  urging  the  subject  of  it  to  utter  psalms,  hymns, 
important  moral  precepts  or  matters,  civil,  sacred,  and  divine. 
This  occurred  while  the  seer  was  awake.  The  inspiration  or 
sacred  impulse  was  of  a  calm  and  gentle  nature,  and  not  violent 
and  furious  as  among  the  heathen.  Such  was  the  inspiration  of 
Zacharias  and  Elizabeth  (Luke  i.  41,  42,  67-79),  who  are  said 
to  have  "  been  filled  with  the  Holy  Gho&t^''  and  to  have  made 
some  sublime  predictions.  The  hymns  uttered  by  inspired 
persons  and  preserved  in  our  sacred  volume,  may  be  classed 
under  various  kinds  of  verse,  one  of  which  is  lyric  'poetry^  or 
that  which  is  designed  to  be  accompanied  with  music,  vocal  or 
instrumental,  or  both.  Such,  for  instance,  is  the  ode  of  Moses, 
uttered  after  the  children  of  Israel  had  miraculously  passed 
through  the  waters  of  the  Red  Sea  (Ex.  xv),  and  a  prophetic 
ode  of  the  same  writer  recorded  in  Deut.  xxxii,  which  we  have 
already  considered  (vid.  Rem.  on  Ex.  xv.  1,  and  Deut.  xxxii. 
44,  supra).  The  prophets,  and  especially  David,  often  uttered 
divine  songs  and  played  upon  instruments  of  music  while  under 
the  influence  of  inspiration.  In  the  passage  before  us,  we  are 
informed  that  the  king  appointed  persons  for  the  temple  service, 
to  prophesy  with  instruments  of  music^  indicating,  it  would 
seem,  that  it  w^as  commion  for  those  who  prophesied  to  have 
musical  accompaniments,  or  even  to  perform  sometimes  them- 
selves on  harps  and  other  musical  instruments. 

Instructed  in  the  songs  of  the  Lord  (v.  7). — It  appears  that 
great  attention  was  paid  to  instruction  in  sacred  songs,  as  vocal 
and  instrumental  music  constituted  an  important  part  of  re- 
ligious worship.  In  I  Chron.  xxv.  7,  w^e  are  informed  that  two 
hundred  and  eighty-eight  wdio  had  thus  been  instructed  were 
employed  in  the  temple  service. 

II  ClIROmCLES  V.   12,  13. 

12  Also  tlie  Levites  wliich  were  the  singers,  all 
of  them  of  Asaph,  of  Heman,  of  Joduthim,  with 


II  CHROXICLES  V.  12,  13.  207 

their  sons  and  tlieir  brethren,  leing  arrayed  in 
white  linen,  having  cymbals  and  psalteries  and 
harps,  stood  at  the  east  end  of  the  altar,  and  with 
them  an  hundred  and  twenty  priests  sounding  with 
trumpets:  13  It  came  even  to  pass,  as  the  trum- 
peters and  singers  loere  as  one,  to  make  one  sound 
to  be  heard  in  praising  and  thanking  the  Lord ; 
and  when  they  lifted  up  tlieir  voice  with  the  trum- 
pets and  cymbals  and  instruments  of  music,  and 
praised  the  Lord,  saying^  For  lie  is  good ;  for  his 
mercy  endi.ireth  for  ever ;  that  then  the  house  was 
filled  with  a  cloud,  even  the  house  of  the  Lord. 

These  passages  refer  to  the  august  ceremony  of  moving  the 
ark  of  the  covenant  from  the  place  where  it  had  been  deposited 
in  the  "  city  of  David"  to  the  temple  of  Solomon.  Three 
months  before,  it  had  been  carried  from  the  house  of  Obed-edom 
to  Jerusalem,  and  placed  in  the  tabernacle  erected  by  David 
for  that  purpose.  Then,  as  the  temple  had  been  completed  by 
Solomon,  and  the  sacred  utensils  and  furniture,  prepared  by  his 
father,  David,  had  been  arranged  in  their  proper  places,  the 
king  assembled  the  elders  of  Israel,  and  all  the  heads  of  the 
tribes  and  chief  men  of  the  nation  to  bring  up  the  ark  and  de- 
posit it  within  the  inner  veil  in  the  Holy  of  Holies.  The 
Levites,  bearing  this  treasure,  moved  forward  amid  the  smok- 
ing sacrifices  of  sheep  and  oxen  "  which  could  not  be  told  or 
numbered  for  multitude."  After  it  had  been  deposited  in 
the  most  holy  place,  and  the  priests  had  come  out  probably  into 
the  sanctuary  where  the  altar  of  incense  stood,  the  Levites, 
being  array  ed  in  white  linen,  and  standing  at  the  east  end  of 
t*he  altar  with  various  instruments  of  music,  mingled  their  har- 
monious notes  with  the  blast  of  a  hundred  and  twenty  trum- 
pets in  the  hands  of  priests.     As  their  songs  of  joy  and  praise 


208 


GRAND  HEBREW  PROCESSION. 


reverberated  with  solemnity  and  grandeur  through  the  sacred 
edifice,  and  as  the  vocal  choir  raised  their  exalted  strains  in 
adoration  of  the  great  Creator,  exclaiming  :  "  For  he  is  good  ; 
for  his  mercy  endureth  forever^''''  the  glory  of  God  came  down 
and  a  cloud  filled  the  temple,  so  that  the  priests  could  not  stand 
to  minister.  It  is  probable  that  the  priests  then  came  out  of 
the  sanctuary  into  the  inner  court  of  the  temple,  called  the 
court  of  the  priests,  which  encircled  the  altar  of  burnt  ofiering. 
In  this  court  we  suppose  Solomon  stood,  upon  the  brazen  scaf- 
fold which  he  had  erected,  to  offer  his  prayer  in  dedicating  the 
temple.  He  was  where  he  could  see  all  of  the  people,  and  yet 
near  the  altar.  He  blessed  them,  and,  kneeling  down  before 
all  the  congregation,  spread  out  his  hands  towards  heaven  and 
uttered  fervent  supplications  to  God.  As  soon  as  he  had  ceased, 
fire  from  heaven  descended  and  consumed  the  sacrificial  victims 
upon  the  altar  of  burnt  ofiering.  The  glory  of  God  so  filled 
the  house  that  the  priests  could  not  again  enter.  When  the 
multitudes,  standing  in  the  court  of  the  Israelites,  beheld  the 
divine  glory,  they  bowed  with  their  fiices  to  the  ground  and 
worshipped  God,  saying,  For  he  is  good  ;  for  his  mercy  endur- 
eth forever^  Then  the  king  and  the  people  offered  an  im- 
mense number  of  sacrifices  to  the  Lord,  continuing  the  ceremo- 
nies seven  days  in  succession. 

II  Chronicles  vii.  6. 

And  the  priests  waited  on  their  offices :  the  Le- 
yites  also  with  instruments  of  music  of  the  Lord, 
which  David  the  king  had  made  to  praise  the 
Lord,  because  his  mercy  enduretli  for  ever,  when 
David  praised  by  their  ministry;  and  the  priests 
sounded  trumpets  before  them,  and  all  Israel  stood. 

This  passage  refers  to  the  closing  ceremonies  at  the  dedica- 
tion of  Solomon's  temple.     The  performances  of  the  Levites 


II  CHRONICLES  IX.  11.  209 

on  instruments  of  music,  constituted  an  important  part  of  those 
imposing  ceremonies. 

Insii'umeiiis. — The  general  term  ("^'^'©""'b^  k^ley  shir)  for 

musical  instruments,  is  here  employed  (vid.  Rem.  on  I  Chron. 
xvi.  5-36  s>fpra).  As  complete  a  choir  as  could  be  raised, 
with  a  full  band  of  instruments,  undoubtedly  performed  on  that 
occasion. 

Trumpets. — These  were  the  hh^tsots^nm  (f^llilSn)  sifver 

trumpets^  used  by  the  priests  only  on  important  occasions  (vid. 
Rem.  on  Num.  x.  2,  supra). 

A?id  all  Israel  stood. — None  excepting  the  kings  of  the  house 
of  David  were  allowed,  however  weary  they  might  be,  to  sit 
down  in  either  the  priests'  or  Israelites'  court.  During  the 
solemn  ceremonies  of  the  dedication,  the  people  stood  in  the 
courts  and  joined  in  the  hymns  of  adoration  which  ascended  as 
a  sweet  savor  before  the  Lord. 

II  Chronicles  ix.  11. 

And  the  king  made  of  the  algum-trees  terraces 
to  the  house  of  the  Lord,  and  to  the  king's  pal- 
ace, and  harps  and  psalteries  for  singers :  and  there 
were  none  such  seen  before  in  the  land  of  Judah. 

Harps  and  Psalteries. — ^These  were  the  kinnors  ("11*5^)  and 
nehhels  iJ^'Z'i)'  Septuagint  uses  cithara^  to  denote  the 

former  (vid.  Rem.  on  Gen.  iv.  21  ;  II  Sam.  x.  5). 

For  sixijrrs. — It  seems  that  the  instruments  were  made  for 
singers.,  inJieating  that  those  who  sung,  at  the  same  time  often 
performed  on  instruments.  That  practice  was  common  from 
the  earliest  times.  Poets  sung  their  own  productions,  and 
sometimes  also  played  an  accompaniment  at  the  same  time,  on 
some  instrument  of  music. 


210    GREAT  BATTLE  BETWEEN  JUDAH  AND  ISRAEL. 


And  there  were  none  such  seen  before  in  the  layid  of  Judah. — 
This  expression  indicates  an  improvement  in  the  construction 
of  musical  instruments.  The  king  had  now  made  them  supe- 
rior to  any  which  had  been  seen  in  the  land.  The  improve- 
ments probably  related  more  to  ornaments  than  to  the  tone  and 
capacity  of  the  instruments. 

II  Chroxicles  xiii.  12-15. 

12  And,  behold,  God  himself  is  with  us  for  our 
captain,  and  his  priests  with  sounding  trumpets  to 
cry  alarm  against  you.  O  children  of  Israel,  fight 
ye  not  against  the  Lord  God  of  your  fathers ;  for 
ye  shall  not  prosper.  13  But  Jeroboam  caused  an 
ambushment  to  come  about  behind  them :  so  they 
were  before  Judah,  and  the  ambushment  ivas  be- 
hind them.  14  And  Avhen  Judah  looked  back,  be- 
hold, the  battle  tvas  before  and  behind :  and  they 
cried  unto  the  Lord,  and  the  priests  sounded  with 
the  trumpets.  15  Then  the  men  of  Judah  gave  a 
shout :  and  as  the  men  of  Judah  shouted,  it  came 
to  pass,  that  God  smote  Jeroboam  and  all  Israel 
before  Abijah  and  Judah. 

There  is  reference  in  these  passages  to  a  battle  which  occur- 
red between  Abijah,  king  of  Judah,  and  Jeroboam,  king  of 
Israel.  The  latter  had  been  rebellious,  mad.e  images  and  wor- 
shipped them,  forsaking  the  God  of  his  fathers.  He  had  raised 
an  army  of  800,000  men,  and  marched  against  one  of  400,000 
under  Abijah,  who  warned  Jeroboam  not  to  contend  against  the 
Lord,  as  he  would  not  prosper  in  so  doing.  He  informed  Je- 
roboam that  God  was  with  Judah,  and  had  directed  her  captain 
and  the  priests  of  the  Lord,  to  sound,  with  trumpets,  the  alarm 


II  CHRONICLES  XV.  1-4. 


211 


against  him.  The  contest  commenced ;  but  ended  in  the  over- 
throw of  Jeroboam  and  the  slaughter  of  500,000  of  the  Israel- 
ites. 

Trumpets{\s.  12, 14). — These  were  the  h^tsots'^roih  (^ii*iji^n) 

or  straight  trumpets.  Here  is  a  remarkable  instance  in  which 
the  sound  of  the  war-trumpet  and  the  shout  of  Judah  struck 
the  hosts  of  rebellious  Israel  with  dismay,  causing  them  to  flee 
before  the  armies  of  the  Lord. 

II  Cheoxicles  XV.  14. 

And  they  sware  unto  the  Lord  with  a  loud 
voice,  and  with  shouting,  and  with  trumpets,  and 
with  cornets. 

The  music,  to  which  reference  is  here  made,  was  in  confirm- 
ation of  an  oath  made  by  the  children  of  Judah  and  Benjamin, 
that  whosoever  would  not  seek  the  Lord  God  of  Israel,  should 
be  put  to  death.  They  had,  as  a  people,  departed  from  the 
worship  of  God,  but,  when  exhorted  by  the  prophet  Azariah, 
they  decided  to  cast  their  dumb  idols  away,  and  return  to  the 
worship  of  the  God  of  Israel.  Taking  this  oath  of  fealty  to 
Jehovah  was  of  the  highest  importance,  and  the  people  pro- 
claimed the  event  with  a  loud  voice,  a  shout,  with  hh^tsots^roth 
(x^rc^^'^ti)      straigltt  trumpets  (vid.  Num.  x.  2,  and  Rem.  on 

the  same,  supra),  and  shoplKtrs  (rri^iSTji)      crooked  trumpets, 

though  our  English  translation  has  cornets.  The  cornet  was  a 
wind  instrument ;  but  ditfered  from  the  shophctr.  In  II  Sam. 
vi.  5,  a  pulsatile  instrument  is  translated  cornets.  The  LXX 
have  KeparLvaig  keratinois,  trumpets,  bugles,  cornets. 

n  Cheoxicles  XX.  19-22,  28. 

19  And  the  Levites,  of  the  chiklren  of  the  Ko- 
hathites,  and  the  children  of  the  Korhites,  stood 


VICTORY  OF  JUDAH. 


up  to  praise  tlie  Lord  God  of  Israel  witli  a  loud 
voice  on  high.  20  And  they  rose  early  in  the 
morning,  and  went  forth  into  the  wilderness  of 
Tekoa :  and  as  they  went  forth,  Jehoshaphat  stood 
and  said,  Hear  Uie,  O  Jiidah,  and  ye  inhabitants  of 
Jerusalem ;  Believe  in  the  Lord  your  God,  so  shall 
ye  be  established ;  believe  his  prophets,  so  shall  ye 
prosper.  21  And  when  he  had  consulted  with  the 
people,  he  appointed  singers  unto  the  Lord,  and 
that  should  praise  the  beauty  of  holiness,  as  they 
went  out  before  the  army,  and  to  say.  Praise  the 
Lord;  for  his  tuqycj  endureth  for  ever.  22  And 
when  they  began  to  sing  and  to  praise,  the  Lord 
set  ambushments  against  the  children  of  Ammon, 
Moab,  and  Mount  Seir,  which  were  come  against 
Judah ;  and  they  were  smitten. 

28  And  they  came  to  Jerusalem,  with  psalteries 
and  harps  and  trumpets,  unto  the  house  of  the 
Lord, 

These  verses  refer  to  the  overthrow  of  the  enemies  of  Judah, 
by  the  special  interposition  of  Providence.  The  Moabitos, 
Ammonites,  and  other  hostile  tribes  came  up  in  battle  array 
against  Jehoshaphat,  king  of  Judah.  The  latter  proclaimed  a 
fast,  and  called  upon  his  people  to  invoke  divine  assistance. 
While  they  were  assembled  and  engaged  in  earnest  prayer,  the 
spirit  of  the  Lord  came  upon  Jahaziel,  and  he  declared  to  the 
oppressed  children  of  Judah  that  they  need  not  fear  the  armies, 
as  the  Lord  would  deliver  them  into  their  hands.  Then  Jehosh- 
aphat and  the  assembly  bowed  down  again  in  adoration  before 
their  Heavenly  Father.  The  Levites  stood  up  to  praise  the 
Lord  God  of  Israel  with  a  loud  voice  on  high.    There  may  have 


II  CHRONICLES  XXIII.  13,  18. 


213 


been  sinr/ing  as  well  as  other  forms  of  worship  performed  hj 
the  Levites  on  that  occasion. 

Singers. — Persons  were  appointed  to  sing  as  the  children  of 
Judah  should  go  out  to  meet  their  enemies.  The  Hebrew  word 
is  m^ahor^rim  a  Participle,  Pilpel  conjugation  from 

^n'^j  ^Ai?*,  to  sing.      Accordingly,   as  they  moved  on,  they 

sung  praises  to  God  with  a  loud  voice,  and  no  sooner  had  they 
begun,  than  Ammon  and  Moab  found  that  the  inhabitants  of 
Mount  Seir  had  laid  in  ambush  for  them,  and  thus  the  foes  of 
Judah  were  put  to  flight  without  the  necessity  of  striking  a 
blow. 

Psalteries.^  Harps^  and  Trumpets. — These  \yere  nebhels,  Hn- 
nors  and  hatsotseras  or  straight  trumpets  (vid.  Rem.  on  I  Sam. 
X.  5;  Gen.  iv.  21;  Num.  x.  2,  supra). 

II  Cheoisicles  xxiii.  13,  18. 

13  And  she  looked,  and  behold,  the  king  stood 
at  his  pillar  at  the  entering  in,  and  the  princes  and 
the  trumpets  by  the  king :  and  all  the  people  of 
the  land  rejoiced,  and  sounded  with  trumpets,  also 
the  singers  with  instruments  of  music,  and  such  as 
taught  to  sing  praise.  Then  Athaliah  rent  her 
clothes,  and  said,  Treason  !  treason  ! 

18  Also  Jehoiada  appointed  the  officers  of  the 
house  of  the  Lord  by  the  hand  of  the  priests  the 
Levites,  whom  David  had  distributed  in  the  house 
of  the  Lord,  to  offer  the  burnt-offerings  of  the  Lord, 
as  it  is-  written  in  the  law  of  Moses,  with  rejoicing 
and  with  singing,  as  it  ivas  ordained  by  David. 

After  the  death  of  Azariah,  king  of  Judah,  Athaliah  his 
mother  ruled  in  his  stead.    She  was  a  monster  of  cruelty,  and 


214: 


JEHOASH  CROWNED. 


made  an  attempt  to  put  to  death  all  the  seed  royal,  so  that  she 
might  continue,  unmolested,  to  occupy  the  throne;  but  Jehoash, 
a  son  of  Ahaziah,  was  concealed,  and  escaped  the  violence  of  that 
desperate  woman.  He  was  finally  escorted  to  a  public  place 
and  anointed  king.  After  the  coronation,  Athaliah  heard  the 
sound  of  rejoicing,  and  cried,  Treason!  But  it  was  too  late. 
Her  fate  was  sealed,  and  she  was  soon  led  out  of  the  temple  to 
the  place  of  execution. 

On  that  important  occasion,  probably  all  of  the  usual  instru- 
ments of  music  were  employed.  At  such  times,  the  ceremonies 
were  performed  with  great  pomp.  First,  the  candidate  was 
anointed  with  holy  oil  (vid.  Ps.  Ixxxix.  20).  If,  however,  one 
of  the  same  fanuly  had  preceded  him  in  the  regal  office,  as  it 
was  hereditary  in  the  kingdom  of  Judah,  the  ceremony  of 
anointing  was  dispensed  with,  excepting  when  the  right  to  the 
throne  was  disputed.  The  candidate  was  next  proclaimed  king 
by  the  sound  of  the  trumpet  (vid.  I  Kings,  i.  34,  39).  A  crown 
was  placed  upon  his  head,  and  a  sceptre  in  his  right  hand.  The 
newly  elected  king  then  promised  to  govern  according  to  the 
law  of  Moses.  Some  other  ceremonies  were  observed,  and 
then  loud  acclamations  arose  from  the  people,  accompanied  by 
music,  and  the  king  entered  the  holy  city.  In  the  case  before 
us,  there  were  similar  observances. 

Trumpets — Sounded  with  trumpets. — Hatsotseras  or  straight 
trumpets  were  here  employed  in  both  cases. 

Singers  with  instruments  of  music. — The  general  term 
^I'^llj-'^i'D  ^^hy  5^^^'^  f'^r  musical  instruments  is  used.  It 
seems  that  those  who  sung^  performed  also  upon  instruments, 
probably  of  the  stringed  or  pulsatile  kind. 

II  Chronicles  xxix.  25-30. 

25  And  lie  set  the  Levites  in  the  house  of  the 
Lord,  with  cymbals,  with  psalteries,  and  with  harps, 
according  to  the  commandraent  of  David,  and  of 


II  CIIROXICLES  XXIX.  25-30. 


215 


Gad  the  king's  seer,  and  XatLan  the  prophet:  for 
so  was  the  commandment  of  the  Lord  by  his  proph- 
ets. 26  And  the  Levites  stood  with  the  instru- 
ments of  David,  and  the  priests  with  the  trumpets. 
27  And  Hezekiah  commanded  to  offer  the  burnt- 
offering  upon  the  altar.  And  when  the  burnt-of- 
fering began,  the  song  of  the  Lord  began  also  with 
the  trumpets,  and  with  the  instruments  ordained 
by  David  king  of  Israel.  28  And  all  the  congre- 
gation worshipped,  and  the  singers  sang,  and  the 
trumpeters  sounded:  and  all  this  continued  until 
the  burnt-offering  was  finished.  29  And  when 
they  had  made  an  end  of  offering,  the  king  and  all 
tliat  were  present  with  him  bowed  themselves  and 
worshipped.  30  Moreover  Hezekiah  the  king  and 
princes  commanded  the  Levites  to  sing  praise  unto 
the  Lord  with  the  words  of  David,  and  of  Asaph 
the  seer.  And  they  sang  praises  with  gladness, 
and  they  bowed  their  heads  and  worshipped. 

Ahaz,  king  of  Judah,  had  abandoned  the  worship  of  Jehovah, 
destroyed  the  sacred  utensils  of  the  temple,  and  desecrated  and 
shut  up  that  holy  edifice.  When  Hezekiah,  his  son,  ascended 
the  throne,  he  overthrew  the  idols  of  gold  and  silver  which 
Ahaz  had  made,  repaired  the  temple  of  Solomon,  and  dedicated 
it  anew  to  the  service  of  God.  The  verses  under  consideration 
refer  to  the  ceremonies  of  that  occasion. 

Cymbals,  psalteries^  and  harps  (v.  25). — The  original  words 
are  derivatives  of  m^tsiltdyim       tlb^"^)'  ne_bhel  and  kinnor. 

The  first,  which  is  translated  cymbals,  is  supposed  by  Jahn  and 
others,  not  to  refer  to  instruments  of  music,  nor  to  bells,  as  the 
"word  is  translated  in  Zech.  xiv.  20,  but  to  concave  plates  of 


216 


DEDICATION  OF  THE  TEMPLE. 


hras.^i,  sometimes  attached  to  horses  for  the  sake  of  ornament 
(vid.  Jahn's  Biblic.  Archajolofry,  §  96.  II).  They  were  doubt- 
less designed  to  make  a  tinkling  sound,  as  well  as  for  show. 
Those  intended  for  horses  were  probably  of  smaller  size  than 
those  used  as  accompaniments  to  music.  In  the  passage  above 
mentioned,  the  word  cannot  mean  any  part  of  the  trappings  of 
a  horse,  as  nothing  is  said  of  that  animal  in  the  connection. 
The  reference  is  evidently  to  a  pulsatile  instrument  similar  to 
that  mentioned  in  I  Chron.  xvi.  5,  42,  and  may  have  been  of 
the  same  form  as  that  of  sieed  ornaments  (vid.  Rem.  on  I  Chron. 
xvi.  5,  42,  supra). 

Instruments  of  David  (v.  26). — KHe^f  ("i^^),  the  general 

term  for  instruments  of  music  (vid.  Rem  on  I  Chron.  xvi.  42), 
probably  referring  to  the  various  kinds  prepared  by  David  and 
used  by  Solomon  in  the  temple  service. 

Trumpets^  (v.  26). — Ilatsotseras,  or  straight^  silver  trumpets. 

Song  of  the  Lord,  (v.  27). — When  the  burnt-offering  began 
to  smoke  upon  the  altar,  the  song  of  praise  to  God  commenced. 
It  seems  that  the  priests  first  sounded  with  their  silver  trumpets, 
and  then  followed  the  whole  choir  of  instrumental  music  "  or- 
dained by  David.^^ 

Singers  sang. — Not  only  was  there  instrumental,  but  vocal 
music.  Probably  the  full  choir  of  Levites  now  either  sung,  or 
performed  on  instruments  of  music.  It  is  probable  also  that 
the  Israelites  in  their  court  joined  in  the  song.  This  oriental 
music  continued  till  the  victim  of  the  burnt-offering  was  con- 
sumed. 

With  the  words  of  David  and  of  Asaph  the  seer  (v.  80). — 
Asaph,  as  well  as  David,  composed  hymns,  and  those  prepared 
by  both  were  sung  on  this  occasion. 

II  Chronicles  xxx.  21. 

And  the  cliildren  of  Israel  that  v)ere  present  at 
Jerusalem  kept  tlie  feast  of  unleavened  bread  seven 


II  CHRONICLES  XXXIV.  12. 


217 


days  witli  great  gladness :  and  the  Levites  and  tlie 
priests  praised  the  Lord  day  by  day,  singing  with 
loud  instruments  unto  the  Lord. 

Loud  instruments. — Literally,  instruments  of  strength  or  in- 
struments of  praise.  At  the  command  of  Hezekiah  the  pass- 
over  was  kept  at  Jerusalem,  and  that  was  a  suitable  occasion 
for  special  joy  and  praise.  The  usual  instruments,  amd  especially 
the  powerful  ones,  were  probably  employed. 

II  CHRomcLES  xxxiv.  12. 

And  the  men  did  the  work  faithfully :  and  the 
overseers  of  them  were  Jahath  and  Obadiah,  the 
Levites,  of  the  sons  of  Merari :  and  Zechariah  and 
Meshullam,  of  the  sons  of  the  Kohathites,  to  set  it 
forward;  and  other  of  the  Levites,  all  that  could 
skill  of  instruments  of  music. 

Under  the  reign  of  Manasseh  and  Ammon  the  temple  had 
been  desecrated,  the  altars  overthrown,  and  the  worship  of  the 
living  God  almost  abandoned.  Josiah  repaired  the  sacred  edi- 
fice, appointed  Levites  as  musicians,  and  restored  the  worship 
of  Jehovah. 

All  that  could  skill  of  instruments  of  music. — This  is  a  badly 
translated  phrase.  It  signifies,  literally,  every  one  skilled  in  the 
instruments  of  song. 

II  Chronicles  xxxv.  15,  25. 

15  And  the  singers  the  sons  of  Asaph  we7'e  in 
their  place,  according  to  the  commandment  of 
David,  and  Asaph,  and  Heman,  and  Jeduthun  the 
10 


218 


MOURNFUL  CHANTS. 


king's  seer ;  and  tlie  porters  waited  at  every  gate ; 
they  miglit  not  depart  from  their  service ;  for  their 
brethren  the  Levites  prepared  for  them. 

25  And  Jeremiah  lamented  for  Josiah :  and  all 
the  singing  men  and  the  singing  women  spake  of 
Josiah  in  their  lamentations  to  this  day,  and  made 
them  an  ordinance  in  Israel :  and,  behold,  they  are 
written  in  the  lamentations. 

Verse  15  has  reference  to  the  celebration  of  the  passover  by 
Josiah  the  king.  The  mention  of  singers  indicates  that  there 
was  vocal  as  well  as  instrumental  music  on  such  occasions. 

Singing  men  and  singing  women  spake  of  Josiah  in  their 
lamentations  (v.  25). — This  indicates  that  females  as  well  as 
males  sometimes  took  part  in  musical  performances.  This  was 
the  case  in  the  tabernacle  and  temple  service.  Heman  had 
fourteen  sons  and  three  daughters,  who  were  skilled  in  music, 
and  Ezra,  when  enumerating  those  who  returned  from  the 
Babylonish  captivity,  names  200  singing  men  and  singing  wom- 
en (vid.  Ezra  ii.  65). 


EZRA  11.  41,  65,  70. 


219 


THE  BOOK  OF  EZRA. 

IXTEODUCTORY  REMARKS. 

The  books  of  Ezra  and  Nehemiali  were  anciently 
called  the  first  and  second  book  of  Ezra.  As  the  author 
of  the  former  speaks  in  the  first  person,  it  is  evident  that 
he  witnessed  the  events  which  he  describes.  The  compo- 
sition was  originally  written  in  the  Hebrew  language,  ex- 
cepting from  the  eighth  verse  of  the  fourth  chapter  to 
the  eighteenth  verse  of  the  sixth  chapter,  and  from  the 
twelfth  to  the  twenty-sixth  verse  of  the  seventh  chapter, 
which  were  written  in  Chaldee.  AVe  have  here  a  history 
of  God's  chosen  people  during  the  time  which  elapsed  from 
the  edict  of  Cyrus  until  the  twentieth  year  of  Artaxerxes 
Longimanus,  about  seventy,  or,  as  some  suppose,  one  hun- 
dred years.  The  return  of  the  Jews  from  Babylon,  under 
Zerubbabel,  and  the  reformation  of  religion  under  Ezra, 
are  described.    There  are  a  few  references  to  music. 

EzEA  ii.  41,  65,  70. 

41  The  singers :  the  children  of  Asaph,  an  hun- 
dred twenty  and  eight. 

65  Besides  their  servants  and  their  maids,  of 
whom  tliere  were  seven  thousand  three  hundred 
thirty  and  seven :  and  there  were  among  them  two 
hundred  singing  men  and  singing  women. 

70  So  the  priests,  and  the  Levites,  and  some  of 
the  people,  and  the  singers,  and  the  porters,  and 


220 


RETUHN  FROM  THE  CAPTIVITY. 


the  Netliinims,  dwelt  in  their  cities,  and  all  Israel 
in  their  cities. 

This  chapter  narrates  the  numbering  of  the  Israelites  in  each 
tribe  and  department,  and  their  return  from  their  captivity  in 
Babylon. 

There  were  128  singers,  children  of  Asaph  (v.  41),  and,  in 
the  whole  congregation,  200  singing  men  and  singing  women 
(v.  65).  The  captivity  occurred,  according  to  the  usual  compu- 
tation, 587  B.  C,  or  A.  M.  3416,  While  the  Israelites  were  in 
Egypt  (which  they  left  about  1491  B.  C,  or  A.  M.  2513)  they 
undoubtedly  became  acquainted  with  Egyptian  music,  and 
adopted  it  to  some  extent,  as  we  have  shown  in  the  introduc 
tion  to  this  work.  When  they  were  captives  in  Babylonia, 
their  music  was  probably  modified  by  that  of  their  oppressors, 
as  they  were  in  bondage  seventy  years,  returning  to  Jadsea 
about  517  B.  C.  This  was  about  half  a  century  after  the  flour- 
ishing period  of  Solomon's  reign,  when  the  arts  had  reached  a 
high  degree  of  improvement  for  that  age.  The  glory  of  the 
temple,  the  splendor  of  its  ornaments  and  services,  had  passed 
away — the  favored  people  of  God  had  worn,  for  a  long  time, 
the  galling  chains  of  slavery,  and  were  emerging  from  the  clouds 
of  darkness  which  had  so  long  enshrouded  them.  They  had  re- 
turned to  the  land  of  their  fathers,  and  were  preparing  to  re- 
store the  worship  of  God  in  their  deserted  temple.  In  num- 
bering their  singing  men  and  singing  women,  instead  of  having 
4000,  as  in  the  days  of  Solomon,  they  found  that  they  had  only 
200. 

Ezra  iii.  10-13.  . 

10  And  when  the  builders  laid  the  foundation 
of  the  temple  of  the  Lord,  they  set  the  priests  in 
their  apparel  with  trumpets,  and  the  Levites  the 
sons  of  Asaph  with  cymbals  to  praise  the  Lord, 


EZRA  III.  10-13. 


221 


after  the  ordinance  of  David  king  of  Israel.  11 
And  tliey  sung  together  by  course,  in  praising  and 
giving  thanks  unto  the  Lord  ;  because  he  is  good, 
for  his  mercy  endiiretli  for  ever  toward  IsraeL 
And  all  the  people  shouted  with  a  great  shout, 
when  they  praised  the  Lord,  because  the  founda- 
tion of  the  house  of  the  Lord  was  laid.  12  But 
many  of  the  priests  and  Levites  and  chief  of  the 
fathers,  ivlio  were  ancient  men,  that  had  seen  the 
first  house,  when  the  foundation  of  this  house  was 
laid  before  their  eyes,  wept  with  a  loud  voice  ;  and 
many  shouted  aloud  for  joy  ;  13  So  that  the  peo- 
ple could  not  discern  the  noise  of  the  shout  of  joy 
from  the  noise  of  the  weeping  of  the  people :  for 
the  people  shouted  with  a  loud  shout,  and  the  noise 
was  heard  afar  off. 

These  verses  refer  to  the  ceremony  of  laying  the  foimdation 
of  the  second  temple.  The  one  built  by  Solomon  was  deso- 
lated, and  finally  burned  by  Nebuchadnezzar,  who  carried  the 
Israelites  into  captivity.  By  a  decree  of  the  Persian  monarch, 
that  oppressed  people  had  been  permitted  now  to  return  to 
Judsea,  and  commence  building  another  temple  under  the  direc- 
tion of  Zerubbabel.  It  was  erected  upon  the  site  of  the  first ; 
but  was  inferior  to  that  edifice  in  splendor.  The  ark  of  the 
covenant  and  mercy  seat,  the  Shekinah  or  manifestation  of  the 
divine  presence  in  the  holy  of  holies,  the  sacred  fire  on  the  altar 
kindled  from  on  high,  the  Urim  and  Thummim  and  the  spirit  of 
prophecy,  which  adorned  and  made  sacred  the  first,  were  en- 
tirely wanting  in  this ;  still  the  glory  of  the  latter,  in  one  re- 
spect, excelled  that  of  the  former.  The  Saviour  graced  it  with 
his  presence  and  holy  teachings.  The  foundations  of  this  new 
temple  were  laid  amid  great  rejoicings.    Some  shouted  in  tri- 


222       JEWISH  TRIUMPH  IX  THE  SECOND  TEMPLE. 


umph,  while  the  aged,  who  had  in  by-gone  days  entered  the 
courts  of  the  former  temple  with  thanksgiving,  wept  with  a 
loud  voice  (verses  11,  12,  13).  As  they  reflected  upon  their 
former  prosperity,  when  they  worshipped  unmolested  in  that 
splendid  edifice  where  Jehovah  vouchsafed  his  presence — while 
contemplating  its  utter  desolation,  their  fearful  bondage  in 
Babylonia,  and  the  cheering  prospect  now  before  them  of  rear- 
ing another  house  of  God  upon  the  site  of  the  former  one,  and 
once  more  entering  its  gates  with  praise, — they  were  over- 
whelmed with  mingled  emotions  of  grief  and  joy. 

Trumpets  (v.  10). — These  were  straight  trumpets. 

Cymhals  (v,  10)  m^tsiltayim. — The  same  instruments  as  those 
mentioned  in  I  Chron.  xvi.  5,  42,  and  II  Chron.  xxix.  25. 

EzEA  vii.  7,  24. 

7  And  there  went  np  some  of  tlie  children  of 
Israel,  and  of  the  priests,  and  the  Levites,  and  the 
singers,  and  the  porters,  and  the  ]N"ethinims,  unto 
Jerusalem,  in  the  seventh  year  of  Artaxerxes  the 
king. 

24  Also  we  certify  you,  that  touching  any  of 
the  priests  and  Levites,  singers,  porters,  IS'ethininis, 
or  ministers  of  this  house  of  God,  it  shall  not  be 
lawful  to  impose  toll,  tribute,  or  custom,  upon 
them. 

Artaxerxes,  king  of  Persia,  favored  the  project  of  rebuild- 
ing the  temple  at  Jerusalem,  and  addressed  a  letter  to  Ezra 
upon  the  subject,  assuring  him  that  the  priests,  Levites,  singers, 
porters,  and  Nethinims,  should  not  be  required  to  pay  tribute, 
toll,  or  custom. 


EZRA  X.  21. 


223 


Ezra  x.  24. 

Of  the  singers  also ;  Eliasliib :  and  of  the  por- 
ters ;  Sliallum,  and  Telem,  and  Uri. 

Singers. — After  the  Israelites  had  returned  to  the  land  of 
Judsea,  they  brought  down  upon  themselves  the  mdignation  of 
Jehovah,  by  taking  strange  wives,  and  the  judgments  of  heaven 
began  to  descend  upon  them.  The  singers  were  among  the 
number  of  transgressors,  and  at  the  solicitation  of  Ezra,  they 
put  away  their  wives,  humbled  themselves  before  God,  and 
secured  again  his  favor. 


224       BUILDING  OF  THE  WALL3  OF  JERUSALEM. 


THE  BOOK  OF  NEIIEMIAIL 

INTRODUCTORY  REMARKS. 

In  some  versions  this  is  called  the  second  book  of  Ezra. 
Nehemiah  was  born  at  Babylon  during  the  captivity,  was 
honored  b}^  Artaxerxes  Longiraanus,  king  of  Persia,  and 
finally  became  his  cup-bearer.  Though  elevated  to  a 
high  rank,  he  did  not  forget  his  kindred  the  Hebrews, 
and  obtained  permission  of  the  king  to  assist  them  in  re- 
building the  walls  of  Jerusalem  and  the  temple.  He  was 
appointed  governor  of  the  province  of  Juchea,  and  entered 
the  hoi 3^  city  about  thirteen  years  after  the  arrival  of  Ezra. 
The  book  contains  an  account  of  the  rebuilding  of  Jeru- 
salem and  the  temple,  the  opposition  of  Sanballat,  and  the 
first  and  second  reformation,  in  respect  to  the  Jews,  accom- 
plished by  Nehemiah. 

Nehemiah  iv.  18-20. 

18  For  the  builders,  every  one  bad  his  sword 
girded  by  his  side,  and  so  builded.  And  be  that 
sounded  the  trumpet  ivas  by  me.  19  And  I  said 
unto  the  nobles,  and  to  the  rulers,  and  to  the  rest 
of  the  people,  The  work  is  great  and  large,  and 
we  are  separated  upon  the  wall,  one  far  from  an- 
other. 20  In  what  place  tlievefore  ye  hear  the 
sound  of  the  trumpet,  resort  ye  thither  unto  us : 
our  God  shall  fight  for  us. 


NEHEMIAH  VII.  1,  44,  67,  73. 


225 


These  verses  refer  to  the  expected  attack  of  Israel's  foes 
while  the  former  were  building  the  walls  of  Jerusalem.  They 
were  obliged  to  hold  their  weapon  of  warfare  in  one  hand  and 
build  with  the  other. 

Trumpet  (vs.  18-20). — This  was  the  shophar  or  crooked 
trumpet,  used  to  sound  an  alarm.  These  verses  in  the  Hebrew 
Bible  are  numbered  12,  13,  and  14.  The  division  into  chapters 
and  verses  being  of  comparatively  late  origin,  and  not  of  divine 
authority,  translators  and  revisers  have  felt  at  liberty  to  use 
their  own  judgment  in  making  the  divisions,  thus  causing  some 
diversity  iu  different  versions  and  editions. 

Nehemiah  vii.  1,  44,  67,  73. 

1  Now  it  came  to  pass,  wlien  the  wall  was  built, 
and  I  had  set  up  the  doors,  aud  the  porters  and  the 
singers  and  the  Levites  were  appointed. 

44  The  singers  :  the  children  of  Asaph,  an  hun- 
dred forty  and  eight. 

67  Beside  their  man-servants  and  their  maid- 
servants, of  whom  there  were  seven  thousand  three 
hundred  thirty  aud  seven  :  and  they  had  two  hun- 
dred forty  and  five  singing  men  and  singing  wom- 
en. 

73  So  the  priests,  and  the  Levites,  and  the  por- 
ters, and  the  singers,  and  some  of  the  people,  and 
the  iSTethinims,  and  all  Israel,  dwelt  in  their  cities ; 
and  when  the  seventh  month  came,  the  children  of 
Israel  id  ere  in  their  cities. 

SingerR  (verses  1,  44,  73). — The  children  of  Asnph  were  148 
in  number.  Some  of  these  singers  may  have  been  more  dis- 
tant descendants  of  that  eminent  musician,  than  sons.  When 


226 


MUSICIANS  OF  THE  TEMPLE. 


the  Israelites  first  came  from  Babylon,  they  had  128  singers ; 
and  now,  having  completed  the  repairs  of  the  temple,  they  ap- 
pointed a  larger  choir. 

Singing  men  and  singing  ivomen  (v.  67). — Here  were  forty- 
five  more  than  those  mentioned  in  Ezra  ii.  65,  as  having  just 
come  from  Babylon. 

Nehemiah  X.  28. 

And  the  rest  of  the  people,  the  priests,  the  Le- 
vites,  the  porters,  the  singers,  the  Nethinims,  and  all 
they  that  had  separated  themselves  from  the  peo- 
ple of  the  lands  unto  the  law  of  God,  their  wives, 
their  sons,  and  their  daughters,  every  one  having 
knowledge,  and  having  understanding. 

Singers. — These  were  a  part  of  the  number  who  took  a  sol- 
emn oath  to  w^alk  in  accordance  with  God's  law. 

Kehemiah  xi.  22,  23. 

22  The  overseer  also  of  the  Levites  at  Jerusa- 
lem iva-s'  Uzzi  the  sou  of  Bani,  the  son  of  Hasha- 
biah,  the  son  of  Mattaniah,  the  son  of  Micha.  Of 
the  sons  of  Asaph,  the  singers  loere  over  the  busi- 
ness of  the  house  of  God.  23  For  it  was  the 
king's  commandment  concerning  them,  that  a  cer- 
tain portion  should  be  for  the  singers,  due  for 
every  day. 

Singers. — It  seems  by  verse  23,  that  a  portion  of  the  singers 
were  appointed  to  perform  each  day,  and  only  on  the  most  im- 
portant public  occasions  did  they  all  perform  at  once. 


NEHEMIAH  XII.  27-47. 


227 


Nehemiah  xii.  27-47. 

27  And  at  tlie  dedication  of  tlie  wall  of  Jerusa- 
lem they  sought  the  Levites  out  of  all  their  places, 
to  bring  them  to  Jerusalem,  to  keep  the  dedication 
with  gladness,  both  with  thanksgivings,  and  with 
singijig,  ivitli  cymbals,  psalteries,  and  with  harps. 
28  And  the  sons  of  the  singers  gathered  them- 
selves together,  both  out  of  the  plain  country 
round  about  Jerusalem,  and  from  the  villages  of 
Netophathi ;  29  Also  from  the  house  of  Gilgal, 
and  out  of  the  fields  of  Geba  and  Azmaveth  :  for 
the  singers  had  builded  them  villages  round  about 
Jerusalem.  30  And  the  priests  and  the  Levdtes 
purified  themselves,  and  purified  the  people,  and 
the  gates,  and  the  wall.  31  Then  I  brought  up 
the  princes  of  Judah  upon  the  wall,  and  appointed 
two  great  companies  of  tJiem  tliat  gave  thanks, 
whereof  one  went  on  the  right  hand  upon  the  wall 
toward  the  dung  gate  :  32  And  after  them  went 
Hoshaiah,  and  half  of  the  princes  of  Judah,  33 
And  Azariah,  Ezra,  and  Meshullam,  34  Judah, 
and  Benjamin,  and  Shemaiah,  and  Jeremiah,  35 
And  certain  of  the  priests'  sons  with  trumpets ; 
namely^  Zechariah  the  son  of  Jonathan,  the  son  of 
Shemaiah,  the  son  of  Mattaniah,  the  son  of  Mich- 
aiah,  the  son  of  Zaccur,  the  son  of  Asaph  :  36 
And  his  brethren,  Shemaiah,  and  Azarael,  Milalai, 
Gilalai,  Maai,  Nethaneel,  and  Judah,  Hanani,  with 
the  musical  instruments  of  David  the  man  of  God, 


228      DEDICATION"  OF  THE  WALLS  OF  JERUSALEM. 

and  Ezra  the  scribe  before  them.  37  And  at  the 
fountain  gate,  which  was  over-against  them,  they 
went  up  by  the  stairs  of  the  city  of  David,  at  the 
going  up  of  the  wall,  above  the  house  of  David, 
even  unto  the  water  gate  eastward.  38  And  the 
other  company  of  tliem  tliat  gave  thanks  went  over 
against  tliem^  and  I  after  them,  and  the  half  of  the 
people  upon  the  wall,  from  beyond  the  tower  of 
the  furnaces  even  unto  the  broad  wall ;  39  And 
from  above  the  gate  of  Ephraim,  and  above  the 
old  gate,  and  above  the  fish  gate,  and  the  tower  of 
Hananeel,  and  the  tower  of  Meah,  even  unto  the 
sheep  gate :  and  they  stood  still  in  the  prison  gate. 
40  So  stood  the  two  companies  of  them  that  gave 
thanks  in  the  house  of  God,  and  I,  and  the  half  of 
the  rulers  with  me :  and  the  priests ;  41  Eliakim, 
Maaseiah,  Miniamin,  Michaiah,  Elioenai,  Zechariah, 
and  Hananiah,  with  trumpets ;  42  And  Maaseiah, 
and  Shemaiah,  and  Eleazar,  and  Uzzi,  and  Jehoha- 
nan,  and  Malchijah,  and  Elam,  and  Ezer.  And  the 
singers  sang  loud,  with  Jezrahiah  their  overseer. 
43  Also  that  day  they  offered  great  sacrifices,  and 
rejoiced :  for  God  had  made  them  rejoice  with 
great  joy :  the  wives  also  and  the  children  re- 
joiced :  so  that  the  joy  of  Jerusalem  was  heard 
even  afar  off. 

44  And  at  that  time  were  some  appointed  over 
the  chambers  for  the  treasures,  for  the  offerings, 
for  the  first-fruits,  and  for  the  tithes,  to  gather  into 
them,  out  of  the  fields  of  the  cities,  the  portions 


NEHEMIAH  XIII.  5,  10. 


229 


of  the  law  for  the  priests  and  Levites :  for  Judah 
rejoiced  for  the  priests  and  for  the  Levites  that 
waited.  45  And  both  the  singers  and  the  porters 
kej)t  the  ward  of  their  God,  and  the  ward  of  the 
purification,  according  to  the  commandment  of 
David,  and  of  Solomon  his  son.  46  For  in  the 
days  of  David  and  Asaph  of  old,  tliere  were  chief 
of  the  singers,  and  songs  of  praise  and  thanksgiv- 
ing nnto  God.  47  And  all  Israel,  in  the  days  of 
Zerubbabel,  and  in  the  days  of  Nehemiah,  gave 
the  portions  of  the  singers  and  the  porters,  every 
day  his  portion ;  and  they  sanctified  lioly  things 
unto  the  Levites ;  and  the  Levites  sanctified  them 
unto  the  children  of  Aaron. 

These  verses  refer  to  the  dedication  of  the  walls  of  Jerusa- 
lem. Probably  all  of  the  different  kinds  of  instruments  in  use 
were  employed.  Cymbals^  psalteries,  and  harps  are  named 
(v.  27) — the  same  as  those  used  on  former  occasions. 

Priests'  sons  with  trumpets  (v.  35). — The  expression,  priests'* 
sons,  is  similar  to  sons  of  the  prophets,  meaning  those  instructed 
by  the  prophets,  and  in  many  cases  their  natural  sons.  So  it 
was  undoubtedly  in  reference  to  sons  of  the  priests. 

Musical  instruments  of  David  (v.  30). — The  expression  indi- 
cates those  which  he  had  ordained  to  be  used,  and  it  was  possi- 
ble that  some  of  the  very  same  instruments  employed  in  the 
time  of  that  monarch,  had  been  preserved. 

Xehemiah  xiii.  5,  10. 

5  And  he  had  prepared  for  him  a  great  cham- 
ber, where  aforetime  they  laid  the  meat-offerings, 
the  frankincense,  and  the  vessels,  and  the  tithes 


230 


SINGERS  m  THE  TEMPLE. 


of  the  corn,  tlie  new  wine,  and  tlie  oil,  whicli  was 
commanded  to  he  given  to  tlie  Levites,  and  the 
singers,  and  the  porters ;  and  the  offerings  of  the 
priests. 

10  And  I  perceived  that  the  portions  of  the 
Levites  had  not  been  given  them  :  for  the  Levites 
and  the  singers,  that  did  the  work,  were  fled  every 
one  to  his  field. 

Singers. — Ordinary  performers  in  the  tenaple  service. 


POETRY  OF  THE  OLD  TESTAMENT. 


231 


POETICAL  BOOKS  OF  THE  OLD  TESTAMEXT. 

IXTRODUCTORY  REMARKS. 

The  poetical  books  of  the  Old  Testament  are  five  in 
number,  viz :  Job,  Psalms,  Proverbs,  Ecclesiastes,  and 
Canticles,  or  the  Song  of  Solomon.  They  are  almost  en- 
tirely written  in  Hebrew  rh}' thm,  and  are  therefore  usually 
classed  by  themselves,  though  some  of  them,  in  point  of 
date,  are  anterior  to  the  historical  books.  As  long  ago  as 
the  time  of  Gregory  Xazianzen,  they  were  called  by  him 
the  jive  metrical  books  (vid.  Greg.  Xaz.  Carm.  xxxiii.  v.  16). 
They  are  also  mentioned  by  Amphilochius,  Bishop  of 
Iconium,  in  an  iambic  poem  which  he  addressed  to  Seleu- 
cus  (Op.  Tom.  ii.,  p.  98  ;  Paris,  1611).  Also  Epiphanius 
and  Cyril  of  Jerusalem  refer  to  them  (Epiph.  de  Pond,  et 
Mens.,  p.  533  ;  Suicer's  Thesaurus,  Tom.  ii).  In  our  He- 
brew Bibles  they  are  placed  in  the  Hagiographa  {holy  writ- 
ings)^ between  Malachi  and  the  book  of  Esther ;  but  in 
our  English  version  between  the  historical  and  prophetic 
writings. 

These  books  are  important  for  our  present  purpose,  as 
they  contain  numerous  allusions  to  music,  and  as  they  had, 
in  many  cases,  at  least,  during  their  recital,  musical  accom- 
paniments. We  shall  therefore  consider  them  rather  more 
fully  than  the  other  books  of  the  sacred  volume. 


232 


ORIENTAL  POETRY. 


HEBREW  POETRY. 

GENERAL  VIEW  OF  HEBREW  POETRY. 

Of  all  poetry,  that  of  the  Hebrews  is  the  most  ancient  on 
record  which  has  reached  our  times  in  any  language,  and  to  de- 
termine its  origin  we  are  obliged  to  go  back  nearly  to  the  com- 
mencement of  the  human  race.  Instrumental  music  was,  in  all 
probability,  practised  as  early  as  160  years  after  the  creation 
of  Adam,  and  vocal  music  undoubtedly  preceded  that.  When 
the  human  voice  first  began  to  utter  musical  sounds,  or  certainly 
very  soon  after,  words  must  have  been  employed,  and  expressed 
in  a  kind  of  poetry,  though  imperfect  and  rude.  Dr.  Jahn  in- 
forms us  that  "  poetry  had  its  origin  in  the  first  ages  of  the  world, 
when  undisciplined  feelings  and  a  lively  imagination  naturally 
supplied  strong  expressions,  giving  an  expressive  modulation  to 
the  voice,  and  motion  to  the  limbs"  (Jahn's  Biblical  Arch. 
§  90).  The  word  poetry  is  derived  from  the  Greek  term 
Hoi7]OL(;  2wiesis,  signifying  the  production  or  creation  of  any- 
thing, referring  undoubtedly  to  the  creative  power  necessary  for 
a  poet.  Although  the  term  which  now  indicates  poetry  is  of 
comparatively  modern  origin ;  yet  poetic  effusions  were  uttered 
long  anterior  to  the  existence  of  the  Greek  language  or  nation, 
and  even  before  the  national  existence  of  the  Hebrews,  although, 
as  we  have  said,  their  writings  contain  the  earliest  authoritative 
record  of  the  art  extant.  In  India,  refined  poetry  existed  in  the 
sacred  books  of  the  Hindoos,  1000  years  B.  C.,  and  probably 
rude  specimens  3000  years  B.  C.  The  Egyptians  cultivated 
music,  and  probably  poetry,  more  than  3000  years  B.  C.  Some 
other  nations  cultivated  the  latter  nearly  as  early ;  but  we  have 
a  rude  specimen  in  the  Jewish  scriptures  recorded  by  Moses,  and 
represented  as  having  been  uttered  by  Lamech,  the  father  of 


GENESIS  IV.  23,  24. 


233 


Jubal,  to  his  two  wives  in  reference  to  a  heinous  crime  of  which 
he  was  guilty.    In  the  excited  state  of  his  mind  he  exclaims  : 

"  Adah  and  Zillah,  hear  my  voice, 
Ye  wives  of  Lamech,  hearken  unto  my  speech; 
For  I  have  slain  a  man  to  my  wounding, 
And  a  young  man  to  my  hurt: 
If  Cain  shall  be  avenged  sevenfold, 
Truly  Lamecli  seventy  and  sevenfold." 

Vid.  Gen.  iv.  23,  24. 

This  passage,  occurring  in  immediate  connection  with  the 
mention  of  Jubal,  and  having  been  uttered  by  his  father,  must 
have  been  spoken  as  early  as  150  or  160  years  after  the  crea- 
tion of  Adam,  and  about  1496  or  1506  before  the  deluge.  It 
is  a  remarkable  circumstance  that  we  have  the  mention  of 
music  and  a  specimen  of  poetry  in  immediate  connection, 
though  they  are  not  named  as  accompanying  each  other. 
The  name  of  Jubal  is  recorded  as  the  father  of  instrumental 
music,  and  Lamech,  his  natural  father,  presents  a  specimen  of 
rude  poetry,  from  the  excitement  produced  by  reflecting  upon 
a  revolting  crime  which  he  had  committed.  Here  we  have 
proof  positive  that  poetry  was  coeval  with  music.  Dr.  Jahn 
asserts  that  poetry,  music,  and  dancing  were  contemporaneous 
in  origin  (Jahn's  Biblical  Arch.  §  90).  It  is  not  necessary  to 
suppose  that  there  was  a  musical  accompaniment  to  the  recital 
of  Lamech's  poetry.  It  is  probable  that  there  was  not,  though 
very  often,  subsequently,  there  were  such  accompaniments. 
This  specimen  of  early  versification  is  called  by  biblical  schol- 
ars prosaic  poetry.  It  has  the  imagination,  pathos,  passion,  and 
striking  expression  of  poetry,  but  not  faultless  versification  nor 
metaphorical  language.  It  is  7ialural  in  distinction  from  arti- 
ficial and  finished  poetry. 

Another  specimen  may  be  found  in  Gen.  ix.  25,  26,  27, 
where  the  patriarch  Noah,  awaking  from  his  wine  and  ascer- 
taining the  shameful  conduct  of  Ham  and  Canaan,  and  the  com- 


234 


HEBREW  POETEY. 


mendable  course  of  Shem  and  Japheth,  is  represented  as  ex- 
claiming, under  the  excitement  of  his  feelings,  in  oriental 
verse  : 

"  Cursed  be  Canaan  ; 

A  servant  of  servants  shall  he  be  unto  his  brethren. 
And  lie  said, 

Blessed  be  the  Lord  God  of  Shem ; 

And  Canaan  shall  be  his  servant. 

God  shall  enlarge  Japheth,  and  he  shall  dwell  in  the 

tents  of  Shem  ; 
And  Canaan  shall  be  his  servant." 

This  was  an  important  prophecy  in  reference  to  the  settlement 
and  government  of  mankind  upon  the  earth,  which  has  been 
terribly  fulfilled  in  respect  to  the  descendants  of  Ham  and  Ca- 
naan, who  are  even  now  in  bondage  in  this  and  other  countries. 
The  prediction  has  also  been  remarkably  fulfilled  in  respect  to 
the  descendants  of  Shem  and  Japheth,  who  have  extended  their 
borders  to  almost  all  parts  of  the  globe. 

Another  instance  occurs  in  Gen.  xxvii.  27,  28,  29  : 

And  lie  came  near,  and  kissed  liim :  and  lie 
smelled  the  smell  of  his  raiment,  and  blessed  him, 
and  said, 

"  See,  the  smell  of  my  son  is  as  the  smell  of  a  field  which 
the  Lord  hath  blessed ; 
Therefore  God  give  thee  of  the  dew  of  heaven. 
And  the  fatness  of  the  earth,  and  plenty  of  corn  and  wine : 
Let  people  serve  thee,  and  nations  bow  down  to  thee : 
Be  lord  over  thy  brethren,  and  let  thy  mother's  sons  bow 
down  to  thee: 
Cursed  be  every  one  that  curseth  thee,  and  blessed  be 
he  that  blesseth  thee." 


GENESIS  XXVII.  39,  40. 


235 


Isaac  blessed  his  son  Jacob  while  he  supposed  he  was  bless- 
ing Esau.  This  occurred  in  consequence  of  the  duplicity  of 
Rebekah,  in  endeavoring  to  secure  the  blessing  for  her  son 
Jacob  the  younger,  and  to  deprive  Esau,  the  elder,  of  his  birth- 
risht.  When  the  latter  returned  with  his  venison,  and  found 
that  his  younger  brother  had  taken  away  his  birth-right,  he 
wept  bitterly,  and  called  upon  his  father  to  bless  him  also. 
Isaac  did  so  in  the  following  poetic  effusion  contained  in  Gen. 
xxvii.  39,  40  : 

And  Isaac  his  fatlier  answered,  and  said  unto 
him, 

*'  Behold,  thy  dwelling  shall  be  the  fatness  of  the  earth, 
And  of  the  dew  of  heaven  from  above ; 
And  by  the  sword  shalt  thou  live,  and  shalt  servx  thy 
brother : 

And  it  shall  come  to  pass,  when  thou  shalt  have  the  do- 
minion, 

That  thou  shalt  break  his  yoke  from  off  thy  neck." 

These  prophecies  were  remarkably  fulfilled  in  the  posterity  of 
the  two  brothers. 

We  find  similar  specimens  of  poetry  in  Ex.  xxxii.  18,  and 
last  clause  of  v.  17  (vid.  Rem.  on  Ex.  xxxii.  17,  16,  supra). 

17  And  when  Joshua  heard  the  noise  of  the 
people  as  they  shouted,  he  said  unto  Moses, 

There  is  a  noise  of  war  in  the  camp. 

18  And  he  said, 

It  is  not  the  voice  of  them,  that  shout  for  mastery, 
Neither  is  it  the  voice  of  them  that  cry  for  being  over- 
come : 

But  the  noise  of  them  that  sing  do  I  hear. 


236 


PROSAIC  POETRY. 


Tlie  specimens  which  we  have  presented,  it  will  be  readily 
perceived,  are  not  the  most  elevated  kind  of  poetry,  and  may 
properly  he  called  poetic  prose.  They  were  uttered  about  1800 
years  B.  C. 

We  have  another  specimen  in  Gen.  xlix.  2-27  inclusive  : 

*'  Gather  yourselves  together  and  hear,  ye  sons  of  Jacob ; 

And  hearken  unto  Israel  your  father. 

Eeuben,  thou  art  my  first-born, 

My  might,  and  the  beginning  of  my  strength, 

The  excellency  of  dignity,  and  the  excellency  of  power: 

Unstable  as  water,  thou  shalt  not  excel ; 

Because  thou  wentest  up  to  thy  father's  bed ; 

Then  defiledst  thou  it :  he  went  up  to  my  couch. 

Simeon  and  Levi  are  brethren ; 

Instruments  of  cruelty  are  in  their  habitations. 

0  my  soul,  come  not  thou  into  their  secret ; 

Unto  their  assembly,  mine  honor,  be  not  thou  united : 
For  in  their  anger  they  slew  a  man, 
And  in  their  self-will  they  digged  down  a  wall. 
Cursed  be  their  anger,  for  it  was  fierce ;  , 
And  their  wrath,  for  it  was  cruel : 

1  will  divide  them  in  Jacob, 
And  scatter  them  in  Israel. 

Judah,  thou  art  he  whom  thy  brethren  shall  praise ; 

Thy  hand  shall  be  in  the  neck  of  thine  enemies: 

Thy  father's  children  shall  bow  down  before  thee. 

Judah  is  a  lion's  whelp : 

From  the  prey,  my  son,  thou  art  gone  up : 

He  stooped  down,  he  couched  as  a  lion, 

And  as  an  old  lion ;  who  shall  rouse  him  up? 

The  sceptre  shall  not  depart  from  Judah, 

'Nor  a  lawgiver  from  between  his  feet, 

Until  Shiloh  come ; 

And  unto  him  shall  the  gathering  of  the  people  De ; 


GENESIS  XLIX.  2-2  T. 


237 


Binding  his  foal  unto  the  vine, 

And  his  ass'  colt  unto  the  choice  vine ; 

He  washed  his  garments  in  wine, 

And  his  clothes  in  the  blood  of  grapes: 

His  eyes  shall  be  red  with  wine. 

And  his  teeth  white  with  milk. 

Zebulun  shall  dwell  at  the  haven  of  the  sea; 

And  he  shall  be  for  an  haven  of  ships, 

And  his  border  shall  be  unto  Zidon. 

Issachar  is  a  strong  ass, 

Couching  down  between  two  burdens: 

And  he  saw  that  rest  was  good. 

And  the  land  that  it  was  pleasant; 

And  bowed  his  ghoulder  to  bear, 

And  became  a  servant  unto  tribute. 

Dan  shall  judge  his  people, 

As  one  of  the  tribes  of  Israel. 

Dan  shall  be  a  serpent  hy  the  way, 

An  adder  in  the  path, 

That  biteth  the  horse-heels, 

So  that  his  rider  shall  fall  backward. 

I  have  waited  for  thy  salvation,  0  Lord. 

Gad,  a  troop  sludl  overcome  him; 

But  he  shall  overcome  at  the  last. 

Out  of  AshcT  his  bread  shall  be  fat,  . 

And  he  shall  yield  royal  dainties. 

Kaphtali  is  a  hind  let  loose: 

He  giveth  goodly  words. 

Joseph  is  a  fruitful  bough. 

Even  a  fruitful  bough  by  a  well ; 

Whose  branches  run  over  the  wall. 

The  archers  have  sorely  grieved  him, 

And  shot  at  iiim,  and  hated  him; 

But  his  bow  abode  in  strength, 


238 


PROPHECY  OF  JACOB. 


And  tlie  arms  of  his  bands  were  made  strong 

By  the  hands  of  the  mighty  Grod  of  Jacob : 

(From  thence  is  the  Shepherd,  the  stone  of  Israel) : 

Even  by  the  God  of  thy  father,  who  shall  help  thee ; 

And  by  the  Almighty,  who  shall  bless  thee 

With  blessings  of  heaven  above. 

Blessings  of  the  deep  that  lieth  under, 

Blessings  of  the  breasts,  and  of  the  womb  : 

The  blessings  of  thy  father  have  prevailed 

Above  the  blessings  of  my  progenitors. 

Unto  the  utmost  bound  of  the  everlasting  hills: 

They  shall  be  on  the. head  of  Joseph, 

And  on  the  crown  of  the  head  of  him 

That  was  separate  from  his  brethren. 

Benjamin  shall  raven  as  a  wolf: 

In  the  morning  he  shall  devour  the  prey, 

And  at  night  he  shall  divide  the  spoil." 

This  is  a  little  more  elevated  than  the  other  passages  quoted ; 
but  it  is  far  from  being  the  highest  kind  of  Hebrew  poetry. 
Good  old  Jacob,  just  before  he  left  the  world,  called  his  sons 
together,  and  uttered  this  remarkable  prophecy  in  respect  to 
the  varied  scenes  through  which  they  would  be  called  to  pass 
during  their  earthly  career.  In  Hebrew  poetry  there  are  evi- 
dently various  kinds  of  verse,  though  we  have  an  imperfect 
knowledge  in  respect  to  the  subject.  We  are  ignorant  even  of 
the  manner  in  which  the  ancient  Hebrews  pronounced  their 
most  common  words.  But  from  the  way  in  which  Josephus, 
Origen,  and  Jerome  speak  of  Hebrew  poetry,  it  would  seem 
that  it  was  well  understood  in  their  time.  Josephus  asserts 
that  Moses  wrote  in  Hexameter  verse,  and  David  in  trimeters 
and  pentameters  (Josep.  Ant.  ii.,  xvi.  4  ;  iv.,  viii.  44 ;  vii.,  xii. 
3).  Jerome  thought  he  discovered  iambic,  alcaic,  and  sapphic 
verses  in  the  Psalms  ;  hexameters  and  pentameters  in  Deuteron- 
omy, Isaiah,  Job,  and  the  writings  of  Solomon  (Hieron.  Praef. 


DIFFERENT  KINDS  OF  HEBREW  POETRY.  239 


in  Chron.  Epist.  135  ad  Paul,  et  Epist.  Urb.  ad  Paulin.  Com- 
ment, in  Ezek.  c.  30).  But  at  this  day  we  cannot  determine 
with  certainty  the  different  kinds  of  verse  in  which  the  Hebrews 
wrote,  nor  is  it  certain  that  even  Origen,  Jerome,  Eusebius,  or 
Josephus  fully  understood  the  subject.  It  is  obvious,  however, 
to  a  casual  observer,  that  many  parts  of  the  sacred  volume 
were  written  in  verse  of  different  metres.  Bishop  Lowth,  one 
of  the  ablest  writers  upon  this  subject,  informs  us  that  there 
are  four  characteristics  of  Hebrew  poetry :  1 .  The  acrostical 
or  alphabetical  commencement  of  lines  or  stanzas  ;  2.  The  ad- 
mission of  foreign  words  and  certain  particles  which  seldom 
are  found  in  prose,  and  thus  form  a  distinct  poetical  dialect ;  3. 
Sententious,  figurative,  and  sublime  expressions  ;  4.  Parallel- 
ism. But  it  has  justly  been  doubted  by  Bishop  Jebb  and  other 
distinguished  biblical  scholars,  whether  any  of  these,  considered 
as  general  characteristics,  excepting  the  last  (Parallelism),  really 
exist.  By  parallelism  we  mean  a  certain  resemblance  or  rela- 
tionship between  two  members  of  a  sentence  adjusted  in  such  a 
manner  that,  in  two  lines  or  members  of  a  period,  words  shall 
answer  to  words  and  things  to  things  as  though  they  were  fitted 
to  each  other  according  to  some  rule  or  measure.  There  may 
be  said  to  be  four  kinds  of  Parallelism,  viz.,  Parallel  lines  Ora- 
dational^  Antithetic^  Synthetic^  arid  Introverted. 

In  Gradational  Parallel  lines,  the  responsive  clause  generally 
rises  above  the  preceding  one,  sometimes  by  a  descending  scale 
in  the  value  of  the  related  terms  and  periods,  but  always  with 
a  distinction  in  meaning.  This  is  very  common  in  the  Psalms 
and  Isaiah. 

In  Parallel  lines  Antithetic^  two  correspond  with  each  other 
by  opposition  of  terms  and  sentiments.  For  instance,  the 
second  line  is  contrasted  with  the  first,  in  expression  or  sense. 
This  is  not  of  very  frequent  occurrence,  especially  in  the  higher 
kinds  of  poetry.  The  Proverbs  of  Solomon  receive  much  of 
their  force  and  elegance  from  this  species  of  parallelism. 

In  Parallel  lines  Synthetic^  or  Constructive^  the  Parallelism 
consists  only  in  a  resemblance  of  construction,  and  such  a  re- 


2W 


HEBREW  TARALLELIS^r. 


semblance  that  word  docs  not  answer  to  word,  nor  sentence  to 
sentence,  as  equivalent  or  opposite.  There  is.  however,  a  cor- 
respondence between  the  different  propositions  in  reference  to 
the  turn  of  the  whole  sentence.  For  instance,  noun  answers  to 
noun,  verb  to  verb,  interrogative  to  interrogative,  negative  to 
negative,  member  to  member.  This  kind  of  parallelism  is  ex- 
tensively employed  by  the  sacred  writers,  though  sometimes  it 
is  with  difficulty  apparent. 

In  Parallel  lines  Introverted^  whatever  may  be  their  number, 
the  first  is  parallel  with  the  last,  the  second  with  the  next  to 
the  last,  and  so  on.  An  abundance  of  these  different  species  of 
parallelism  may  be  found  in  the  Old  Testament,  and  Bishop 
Jebb  has  shown  that  the  same  characteristics  appear  in  the  New 
Testament.  The  latter  is  supplementary  to  and  perfective  of 
the  Old  Testament,  having  been  composed  in  like  manner  by- 
native  Jews,  in  Hellenistic  or  Hebraic  Greek,  under  the  same 
divine  influence,  and  we  should  naturally  expect  the  same  kinds 
of  parallelism,  and  other  similar  indications  of  poetic  effli- 
sion. 

Jebb  remarks,  that  the  poetry  of  the  New  Testament  con- 
sists,— 1.  In  simple  and  direct  quotations  of  single  passages 
from  the  poetic  parts  of  the  Old  Testament.  2.  In  quotations 
of  a  more  complex  kind  when  fragments  are  combined  from 
different  parts  of  the  poetical  Scriptures,  and  formed  into  one 
connected  whole.  3.  In  quotations  mingled  with  original  mat- 
ter, ill  which  one  passage  or  more  is  derived  from  the  Hebrew 
Scripture*  and  so  connected  with  what  is  original  that  the 
compound  forms  a  homogeneous  whole. 

The  different  kinds  of  original  Parallelism  in  the  New  Testa- 
ment are,  according  to  the  same  distinguished  scholar, — I.  Par- 
allel couplets;  II.  Parallel  triplets;  III.  Quatrains,  of  which 
the  lines  are  either  directly,  alternately,  or  inversely  parallel ; 
IV.  Stanzas  of  five  lines  ;  V.  Stanzas  of  six  lines  :  VI.  Stanzas 
of  more  than  six  parallel  lines. 

Parallel  lines  gradational,  or  Cognate  Parallelisms  are  also 
found  in  the  New  as  well  as  the  Old  Testament,  as  in  11  Thess. 


NUMBERS  XXI.  27-30. 


2-il 


ii.  8  ;  ^fatt.  x.  5,  6,  etc.  Introverted  Parallelism  is  also  found, 
and  the  Epanodos^  as  Jebb  calls  it. 

We  discover  in  the  Sacred  Scriptures  seven  different  kinds  of 
poetic  composition,  viz  :  Prophetic^  Elegiac^  Didactic,  Lyric^  the 
Idyl  or  short  pastoral  poem,  Dramatic  poetry,  and  the  Acrostic 
or  Alphabetical  poems.  Oriental  poetry  is  full  of  strong  ex- 
pressions, striking  metaphors,  lively  descriptions,  and  glowing 
sentiments,  expressed  in  the  most  vivid  manner. 

In  addition  to  the  passages  already  presented,  which  may  be 
called  poetic  prose^  there  are  a  few  other  specimens  of  poetry 
before  coming  to  the  poetic  books.  We  have  already  noticed 
some,  and  find  in  them  a  higher  kind  of  poetry  than  that  which 
we  have  been  considering.  They  are  the  following  :  The  Song 
of  Moses  and  the  Israelites,  uttered  after  their  deliverance  from 
the  Egyptians  at  the  Red  Sea,  contained  in  Ex.  xv.  1-18  (vid. 
p.  102,  supra)  ;  the  Song  of  Miriam,  contained  in  Ex.  xv.  21 
(vid.  p.  106,  svpra)  ;  also  a  song  of  the  Israelites,  contained  in 
Num.  xxi.  17,  1»  (a  part  of  the  verse)  (vid.  p.  127,  supra). 

These  are  specimens  of  Lyric  poetry.  Another  instance  is 
found  in  Num.  xxi.  27-30.  It  is  a  triumphal  ode,  in  which 
Israel  exults,  after  a  sanguinary  battle,  in  view  of  her  victory 
over  Sihon,  king  of  the  Amorites.  We  give  Herder's  trans- 
lation of  it  (Maryh's  Ed.)  : 

A  SOXG  OF  TRIUMPH  OVER  THE  AMORTTES,  WHO  HAD  BEEN 
THE  CONQUERORS  OF  MOAB. 

27  Come  ye  into  Heshbon, 
Build  and  strengthen  Sihon, 

28  A  fire  went  out  of  Heshbon. 
A  flame  from  the  city  Sihon, 

Which  consumed  the  mountains  of  Moab, 
The  dwellers  in  the  high  places  of  Arnon. 

29  Woe  unto  thee,  Moab, 

Thou  art  undone,  people  of  Cbemosh. 
Thy  sons  must  be  fugitives, 
11 


242 


Balaam's  prophecy. 


Tliy  daughters  become  captives 
To  Sihon,  king  of  the  Amorites. 
80     Their  yoke  is  now  broken 
From  Heshbon  unto  Dibon. 
We  laid  waste  unto  Nophah, 
We  laid  them  waste  unto  Medbah. 

The  Israelites  here  invite  their  enemies  to  come  into  the  cities 
which  they  had  just  subdued,  and  extol,  in  the  keenest  irony, 
the  achievements  of  the  conqueror. 

We  find,  also,  other  instances,  as  follows  : 

NuMBEES  xxiii.  Y-10. 

Y  And  he  took  up  his  parable,  and  said, 
Balak  the  king  of  Moab  hath  brought  me  from  Aram, 
Out  of  the  mountains  of  the  east,  saying^ 
Come,  curse  me  Jacob, 
And  come,  defy  Israel. 

8  How  shall  I  curse,  whom  God  hath  not  cursed? 

Or  how  shall  I  defy,  whom  the  Lord  hath  not  defied  ? 

9  For  from  the  top  of  the  rocks  I  see  him, 
And  from  the  hills  I  behold  him  : 

Lo,  the  people  shall  dwell  alone, 
And  shall  not  be  reckoned  among  the  nations. 
10  Who  can  count  the  dust  of  Jacob, 

And  the  number  of  the  fourth  part  of  Israel  ? 
Let  me  die  the  death  of  the  righteous, 
And  let  my  last  end  be  like  his ! 

Numbers  xxiii.  18-24. 

18  And  he  took  up  his  parable,  and  said, 
Rise  up,  Balak,  and  hear ; 
Hearken  unto  me,  thou  son  of  Zippor; 


NUMBERS  XXIY.  3-9.  243 

19  God  is  not  a  man,  that  he  should  lie ; 
ISTeither  the  son  of  man,  that  he  should  repent : 
Hath  he  said,  and  shall  he  not  do  it  f 

Or  hath  he  spoken,  and  shall  he  not  make  it  good? 

20  Behold,  I  have  received  commandment  to  bless : 
And  he  hath  blessed ;  and  I  cannot  reverse  it. 

21  He  hath  not  beheld  iniquity  in  Jacob, 
Xeither  hath  he  seen  perverseness  in  Israel : 
The  Lord  his  God  is  with  him, 

And  the  shout  of  a  King  is  among  them. 

22  God  brought  them  out  of  Egypt ; 

He  hath  as  it  were  the  strength  of  an  unicorn. 

23  Surely  there  is  no  enchantment  against  Jacob, 
Neither  is  there  any  divination  against  Israel : 
According  to  this  time  it  shall  be  said 

Of  Jacob  and  of  Israel,  What  hath  God  wrought ! 
2-1  Behold,  the  people  shall  rise  up  as  a  great  lion, 
And  lift  up  himself  as  a  young  lion  : 
He  shall  not  lie  down  until  he  eat  of  the  prey, 
And  drink  the  blood  of  the  slain. 

Numbers  xxiv^  3-9. 

3  And  lie  took  up  his  parable,  and  said, 
Balaam  the  son  of  Beor  hath  said. 

And  the  man  whose  eyes  are  open  hath  said : 

4  He  hath  said,  which  heard  the  words  of  God, 
"Which  saw  the  vision  of  the  Almighty, 
Falling  into  a  trance,  but  having  his  eyes  open : 

From  verse  5  to  9  we  copy  Dr.  Hales'  beautiful  translation, 
as  follows : 

5  How  goodly  are  thy  tents,  0  Jacob, 
And  thy  tabernacles,  0  Israel ! 

6  As  streams  do  they  spread  forth, 


244 


HEBRE\Y  POETRY, 


As  gardens  bj  the  river  side; 

As  sandal  trees  which  the  Lord  hath  planted, 

As  cedar  trees  beside  the  waters. 

7  There  shall  come  forth  a  man  of  his  seed, 
And  shall  rule  over  many  nations : 

And  his  king  shall  be  higher  than  Gog, 
And  his  kingdom  shall  be  exalted. 

8  (God  brought  him  forth  out  of  Egypt, 
He  is  to  him  as  the  strength  of  a  unicorn). 
He  shall  devour  the  nations,  his  enemies, 
And  shall  break  their  bones. 

And  pierce  them  through  with  arrows. 

9  He  lieth  down  as  a  lion, 
He  coucheth  as  a  lioness. 
Who  shall  rouse  him? 
Blessed  is  he  that  blesseth  thee, 
And  cursed  is  he  that  curseth  thee. 

Verses  15-24  of  the  same  chapter,  refer  to  other  prophecies 
of  Balaam. 

15  And  he  took  up  his  parable,  and  said, 
Balaam  the  son  of  Beor  hath  said, 

And  the  man  whose  eyes  are  open  hath  said : 

16  He  hath  said,  which  heard  the  words  of  God, 
And  knew  the  knowledge  of  the  Most  High, 
Which  saw  the  vision  of  the  Almighty, 
Falling  into  a  trance,  but  having  his  eyes  open : 

17  I  shall  see  him,  but  not  now : 

I  shall  behold  him,  but  not  nigh : 
There  shall  come  a  Star  out  of  Jacob. 
And  a  Sceptre  shall  rise  out  of  Israel, 
And  shall  smite  the  corners  of  Moab, 
And  destroy  all  the  children  of  Sheth. 

18  And  Edom  shall  be  a  possession, 


NUMBERS  XXIV.  15-24. 


245 


Seir  also  shall  be  a  possession  for  Lis  enemies ; 
And  Israel  shall  do  valiantly. 

19  Out  of  Jacob  shall  come  he  that  shall  have  dominion, 
And  shall  destroy  him  that  remaineth  of  the  city. 

20  And  when  he  looked  on  Amalek,  he  took  up 

liis  parable,  and  said, 
Amalek  icas  the  first  of  the  nations; 
But  his  latter  end  shall  he  that  he  perish  for  ever. 

21  And  ke  looked  on  the  Kenites,  and  took  up 

kis  parable,  and  said, 
Strong  is  thy  dwelling-place, 
And  thou  puttest  thy  nest  in  a  rock. 

22  Nevertheless  the  Kenite  shall  be  wasted, 
Until  Asshur  shall  carry  thee  away  captive. 

23  And  he  took  up  his  parable,  and  said, 
Alas,  who  shall  live  when  God  doeth  this  I 
And  ships  shall  come  from  the  coast  of  Chittim, 

24  And  shall  afflict  Asshur,  and  shall  afflict  Eber, 
And  he  also  shall  perish  forever. 

These  are  remarkable  instances  of  prophetic  poetry  by  an 
irreligious  man.  Balaam,  the  son  of  Beor,  was  called  by 
Balak,  king  of  Moah,  to  curse  Israel.  It  is  a  disputed  point 
whether  he  was  a  true  prophet  of  the  Lord,  or  only  a  magician. 
The  most  probable  supposition  is  that  he  was  a  Chaldasan  priest, 
magician,  and  astrologist,  and  distinguished  throughout  Asia  in 
his  profession.  At  the  same  time,  he  had  a  knowledge  of  the 
Supreme  Being,  and  worshipped  him,  though  his  religious  notions 
and  services  were  mingled  with  superstition  and  error.  It  is 
evident  from  the  account  given  of  him  by  Moses,  that  he  was, 
occasionally  at  least,  inspired,  and  uttered  prophetic  poetry, 
though  probably  a  wicked  man.  It  is  obvious,  from  Matt.  vii. 
22,  that  those  who  had  the  gift  of  prophecy  were  not,  in  all 
cases,  truly  pious  persons.  It  seems  that  Balaam  was  desirous 
to  curse  the  Israelites ;  but  dared  not  do  it  without  authority 


246 


SONG  OF  MOSES. 


from  Jehovah.  Thus  he  blessed  them  three  times,  in  elevated 
Hebrew  poetry,  with,  language  abounding  in  gay  and  splendid 
imagery,  drawn  directly  from  nature.  The  figures  are  remark- 
ably diversified,  and  the  style  glowing  and  elegant. 

The  next  instance  ^vhich  we  shall  present,  is  found  in  Deu- 
teronomy xxxii.  1-43.  We  give  Herder's  translation  of  it 
(Marsh's  Ed.) : 

SONG  OF  MOSES  TO  THE  ASSEMBLED  ISRAELITES  BEFORE  HIS 
DEATH. 

1  Give  ear,  0  ye  heavens,  to  my  speech, 
Hear,  0  earth,  the  words  of  my  mouth. 

2  My  doctrine  shall  drop  as  the  rain, 
My  words  shall  distil  as  the  dew, 
As  rain  upon  the  tender  herb. 
And  as  showers  upon  the  grass ; 

8  For  I  will  publish  the  name  of  Jehovah — 
Ascribe  ye  greatness  to  Jehovah  our  God. 

4  He  is  a  rock,  his  work  is  perfect, 
And  all  his  dealings  are  riglit ; 

A  God  of  truth,  without  iniquity, 
Sincere  and  righteous  is  he. 

5  They  only  are  no  longer  his  children, 
Their  iniquity  hath  turned  them  from  him, 
A  faithless  and  perverse  generation. 

6  Is  this  your  requital  to  Jehovah, 
O  foolish  people  and  unwise  ? 

Is  he  not  thy  father,  he  that  hath  bought  thee  ? 
That  hath  made  thee,  and  established  thee? 

7  Call  to  remembrance  the  ancient  days, 
The  years  from  generation  to  generation. 
Ask  thy  flither,  and  he  will  shew  thee, 
The  aged  men,  and  they  will  tell  it  thee. 

8  "When  the  Almighty  gave  the  nations  their  lands, 
When  he  separated  the  children  of  men, 


DEUTERONOMY  XXXIII.  1-43. 


247 


He  limited  the  bounds  of  the  nations, 
That  the  numbers  of  Israel  might  have  room; 
9  For  the  portion  of  God  is  his  people, 
Jacob,  the  lot  of  his  inheritance. 

10  He  found  him  in  a  desert  land, 
In  a  waste  and  howling  wilderness ; 

He  took  him  in  his  arms  and  taught  him ; 
He  guarded  him  as  the  apple  of  his  eye. 

11  As  the  eagle  covers  her  nest  around, 
And  hovei's  over  her  3-oung, 
Spreads  her  wings,  takes  them  thereon, 
And  bears  them  aloft  upon  her  wings ; 

12  So  did  Jehovah  lead  him,  himself  alone, 
There  was  no  strange  God  with  him. 

13  He  bore  him  to  the  mountain  heights, 
And  fed  him  with  the  fruits  of  the  earth ; 
He  made  him  to  suck  honej  from  the  rock, 
And  oil  out  of  the  flinty  rock, 

14  Butter  of  kine,  and  milk  of  sheep, 

The  fat  of  lambs,  and  of  the  rams  of  Bash  an, 
The  fat  kidneys  of  goats,  and  bread  of  wheat, 
And  thou  didst  drink  the  blood  of  the  grape. 

15  Then  Jeshurun  waxed  stout,  and  rebelled, 
Thou  wast  too  fat,  too  satiate,  too  full. 
Thou  didst  forsake  the  God  that  made  thee. 
And  lightly  esteem  the  rock  of  thy  salvation. 

They  moved  his  jealousy  with  strange  gods, 

16  They  provoked  his  anger  with  abominations. 
They  sacrificed  to  demons,  not  to  God, 

17  To  idols,  of  whom  they  had  no  knowledge, 
To  new  gods,  that  were  newly  invented. 
Before  whom  your  fathers  trembled  not ; 

18  Of  Him  that  begat  thee — the  Rock — thou  wast  forgetful, 
And  didst  forget  the  God  that  formed  thee. 


248 


SONG  OF  MOSES. 


19  This  Jehovali  saw,  and  cast  away  in  anger, 
Those  who  were  his  sons  and  daughters. 

20  He  said,  "  I  will  tarn  my  face  from  them, 
I  will  see  to  what  end  they  will  come. 
For  they  are  a  perverse  generation, 
Children  of  a  base  and  faithless  sort. 

21  They  moved  me  to  jealousy  with  their  no- god. 
They  provoked  me  to  anger  with  their  idols ; 

I  also  will  move  their  jealousy  with  a  no-people. 
With  a  foolish  nation  I  will  provoke  their  anger. 

22  For  the  fire  of  my  wrath  is  kindled, 
And  shall  burn  even  to  the  deep  abyss, 
It  shall  consume  the  earth  and  her  fruits. 
And  fire  the  foundations  of  the  mountains. 

23  I  will  heap  up  afflictions  upon  them. 
And  my  arrows  will  I  send  upon  them, 

24  Consumed  with  hunger,  and  burned  with  heat. 
Devoured  with  bitter  destruction, 

I  will  send  upon  them  the  teeth  of  wild  beasts. 
With  the  poison  of  serpents  from  the  dust. 

25  The  sword  shall  be  without,  and  terror  within, 
And  shall  destroy  both  the  young  man  and  virgin, 
The  suckling,  and  the  man  of  gray  hairs. 

26  I  had  almost  said,  I  will  destroy  them. 
And  blot  out  their  name  among  men ; 

27  Had  I  not  feared  the  pride  of  the  enemy, 
That  their  oppressors  would  mistake  it. 
And  say,  "our  own  high  hand, 

And  not  Jehovah  hath  done  this." 

28  For  they  are  a  nation  void  of  counsel, 
There  is  no  understanding  in  them. 

29  0  that  they  were  wise,  to  understand  this, 
That  they  would  consider  their  latter  end. 

30  How  is  it,  that  one  can  chase  a  thousand, 


DEUTERONOMY  XXXII.  1-43. 


2i9 


And  two  of  them  put  ten  thousand  to  flight  ? 
Is  it  not,  that  their  rock  hath  forsaken  them, 
That  Jehovah  hath  given  them  for  a  prey  ? 

81  Else  their  rock  were  not  like  our  rock, 
Our  enemies  themselves  being  judges. 

82  Their  vine  is  from  the  vine  of  Sodom, 
Their  grapes  from  the  fields  of  Gomorrah, 
Grapes  of  gall,  their  clusters  are  bitter, 

83  Their  juice  is  the  poison  of  dragons, 
The  deadly  venom  of  serpents. 

84  Have  I  not  already  my  secret  counsel, 
Sealed  and  laid  up  in  my  treasures  ? 

85  "  Vengeance  is  mine  and  the  day  of  recompense, 
Their  foot  is  even  now  ready  to  slide. 

The  day  of  their  calami t}^  is  at  hand. 
Their  destiny  is  soon  coming  upon  them." 
36     Jehovah  is  now  the  judge  of  his  people. 
It  repents  him  that  they  are  his  children. 
He  seeth,  that  their  power  is  departed. 
That  nothing  is  left  to  them  more. 

87  He  asked  them,  where  are  now  their  gods, 
The  guardian  God,  in  whom  they  trusted  ? 

88  Which  did  eat  the  fat  of  their  sacrifices. 
And  drank  the  wine  of  their  drink-offerings? 
Let  them  now  rise  up  and  help  you, 

Let  them  now  be  your  protection. 

89  See  now,  that  I,  even  I  am  he. 
And  there  are  no  Gods  with  me. 

I  am  he,  that  killeth  and  maketh  alive, 
I  am  he,  that  woundeth  and  healeth. 
And  none  can  deliver  out  of  my  hand. 
40     For  I  lift  up  my  hand  to  heaven. 
And  say,  I  am,  the  living  one 
From  eternity  to  eternity. 


250 


BLESSING  OF  MOSES. 


41  If  I  whet  my  glittering  sword, 

And  my  hand  take  hold  on  judgment, 
I  will  render  vengeance  to  mine  enemies, 
And  will  reward  them  that  hate  me. 

42  I  will  make  mine  arrows  drunk  with  blood, 
My  sword  shall  satiate  itself  with  flesh, 
The  blood  of  the  slain,  and  of  the  captives, 
With  the  head  of  the  chief  of  my  enemy. 

43  Eejoice,  ye  Gentiles,  now  his  people, 

He  will  avenge  the  blood  of  his  servants, 
And  render  vengeance  to  his  enemies. 
And  purify  his  land  and  people. 

Another  instance  occurs  in 

Deuteronomy  xxxiii.  1-29. 

1  And  this  is  the  blessing,  wherewith  Moses  the 
man  of  God  blessed  the  children  of  Israel  before 
Ms  death.    And  he  said, 

2  The  Lord  came  from  Sinai, 

And  rose  up  from  Seir  unto  them ; 

He  shined  forth  from  Mount  Paran, 

And  he  came  with  ten  thousands  of  saints : 

From  his  right  hand  went  a  fiery  law  for  them. 

3  Yea,  he  loved  the  people : 
All  his  saints  are  in  thy  hand : 
And  they  sat  down  at  thy  feet ; 
Every  one  shall  receive  of  thy  words. 

4  Moses  commanded  us  a  law. 

Even  the  inheritance  of  the  congregation  of  Jacob. 

5  And  he  was  king  in  Jeshurun 
When  the  heads  of  the  people 

And  the  tribes  of  Israel  were  gathered  together. 

6  Let  Keuben  live,  and  not  die ; 


DEUTERONOMY  XXXIII.  1-29. 


251 


And  let  7iot  his  men  be  few. 

7  And  this  is  the  Uessing  of  JudaL :  and  be  said, 
Hear,  Lord,  the  voice  of  Judah, 

And  bring  him  unto  his  people : 

Let  his  hands  be  sufficient  for  him ; 

And  be  thou  an  help  to  him  from  his  enemies. 

8  And  of  Levi  be  said, 

Let  thy  Thummim  and  thy  L^rim  he  with  thy  holy  one, 
Whom  thou  didst  prove  at  Massah, 
And  with  whom  thou  didst  strive  at  the  waters  of 
^leribah : 

9  "Who  said  unto  his  father,  and  to  his  mother,  I  have 

not  seen  him : 

Neither  did  he  acknowledge  his  brethren,  nor  knew 
his  own  children : 

For  they  have  observed  thy  word,  and  kept  thy  cove- 
nant. 

10  They  shall  teach  Jacob  thy  judgments,  and  Israel  thy 

law : 

They  shall  put  incense  before  thee,  and  whole  burnt 
sacrifices  upon  thine  altar. 

11  Bless,  Lord,  his  substance. 

And  accept  the  work  of  his  hands ; 

Smite  through  the  loins  of  them  that  rise  against  him, 

And  of  them  that  hate  him,  that  they  rise  not  again. 

12  And  of  Benjamin  he  said, 

The  beloved  of  the  Lord  shall  dwell  in  safety  by  him ; 
And  the  Lord  shall  cover  him  all  the  day  long, 
And  he  shall  dwell  between  his  shoulders. 

13  And  of  Joseph  he  said, 
Blessed  of  the  Lord  he  his  land, 

For  the  precious  things  of  heaven,  for  the  dew, 
And  for  the  deep  that  coucheth  beneath, 


252 


LAST  WORDS  OF  MOSES. 


14  And  for  tlie  precious  fruits  brought  forth  b}^  the  sun, 
And  for  the  precious  things  put  forth  by  the  moon, 

15  And  for  the  chief  things  of  the  ancient  mountains. 
And  for  the  precious  things  of  the  lasting  hills, 

16  And  for  the  precious  things  of  the  earth  and  fullness 

thereof, 

And/br  the  good-will  of  him  that  dwelt  in  the  bush : 
Let  the  hlessiiig  come  upon  the  head  of  Joseph, 
And  upon  the  top  of  the  head  of  him  that  was  sepa- 
rated from  his  brethren. 

17  His  glory  is  like  the  firstling  of  his  bullock, 
And  his  horns  are  like  the  horns  of  unicorns; 

With  them  he  shall  push  the  people  together  to  the 

ends  of  the  earth  : 
And  they  are  the  ten  thousands  of  Ephraim, 
And  they  are  the  thousands  of  Manasseh. 

18  And  of  Zebulun  be  said, 
Eejoice,  Zebulun,  in  thy  going  out ; 
And,  Issachar,  in  thy  tents. 

19  They  shall  call  the  people  unto  the  mountain ; 
There  they  shall  offer  sacrifices  of  righteousness : 
For  they  shall  suck  of  the  abundance  of  the  seas, 
And  of  treasures  hid  in  the  sand. 

20  And  of  Gad  he  said, 

Blessed  be  he  that  enlargeth  Gad : 
He  dwelleth  as  a  lion, 

And  teareth  the  arm  with  the  crown  of  the  head. 

21  And  he  provided  the  first  part  for  himself, 

Because  there,  in  a  portion  of  the  lawgiver,  was  Ae  seated ; 
And  he  came  with  the  heads  of  the  people, 
He  executed  the  justice  of  the  Lord, 
And  his  judgments  with  Israel. 

22  And  of  Dan  he  said, 


DEUTERONOMY  XXXIII.  1-29.  253 

Dan  is  a  lion's  whelp : 

He  shall  leap  from  Basban. 

23  And  of  Xaplitali  he  said, 

0  Xaphtali,  satisfied  with  favor, 

And  full  with  the  blessing  of  the  Lord: 

Possess  thou  the  west  and  the  south. 

24  And  of  Asher  he  said, 

Zet  Asher  he  blessed  with  children  ; 
Let  him  be  acceptable  to  his  brethren, 
And  let  him  dip  his  foot  in  oil. 

25  Thy  shoes  shall  he  iron  and  brass ; 

And  as  th}'  days,  so  shall  thy  strength  he. 

26  There  is  none  like  unto  the  God  of  Jeshurun, 
TTAc  rideth  upon  the  heaven  in  thy  help, 
And  in  his  excellency  on  the  sky. 

27  The  eternal  Grod  is  thy  refuge, 

And  underneath  are  the  everlasting  arms: 

And  he  shall  thrust  out  the  enemy  from  before  thee  ; 

And  shall  say,  Destroy  them. 

28  Israel  then  shall  dwell  in  safety  alone : 

The  fountain  of  Jacob  shall  he  upon  a  land  of  corn  and 
wine ; 

Also  his  heavens  shall  drop  down  dew. 

29  Happy  art  thou,  O  Israel : 

Who  is  like  unto  thee,  O  people  saved  by  the  Lord, 
The  shield  of  thy  help,  and  who  is  the  sword  of  thy 
excellency : 

And  thine  enemies  shall  be  found  liars  unto  thee ; 
And  thou  shalt  tread  upon  their  high  places. 

This  seems  to  have  been  the  valedictory  poem  of  the  great 
Lawgiver  of  Israel.  He  had  premonitions  of  his  approaching 
departure,  and  was  borne  down  with  anxiety  in  reference  to  his 
disobedient  people.    In  his  prophetic  description  of  God's  deal- 


254 


HAXX All's  PRAYER. 


ings  with  them,  the  most  vivid  and  striking  images  are  em 
ployed.  "We  see  before  us  the  flaming  mountain,  the  piUars 
of  fire,  and  liear  the  voice  of  the  Eternal,  directing  his  chosen 
people.    It  is  a  lyric  ode.  but  plaintive,  exciting,  and  beautiful. 

Another  instance  appears  in  Joshua  x.  12,  iu  which  the  leader 
of  Israel's  forces  exclaims  : 

'*  Sun,  stand  thou  still  upon  Gibeon, 
And  thou,  Moon,  in  the  valley  of  Ajalon." 

This  is  a  remarkable  instance  in  which  nature  obeyed  the 
mandate  of  a  human  being.  Rationalism  may  attempt  to  show 
that  no  miracle  was  wrought  in  this  case — that  it  is  a  mere  po- 
etic license — that  Joshua  only  irhlied  the  sun  not  to  go  down, 
as  Herder  asserts  ;  but  we  believe  that  the  Almighty  inter- 
posed, and  that  the  earth  stopped  in  her  diurnal  revolution,  or 
that  the  laws  of  refraction  were  so  changed  that  the  sun  was 
visible  about  a  day  longer  than  usual.  In  either  case  it  was  a 
miracle.  The  passage  is  a  striking  instance  of  bold,  animated 
poetry. 

The  Song  of  Deborah  (Judges  v.  2-31)  we  have  already  con- 
sidered (vid.  pp.  143-1-4T,  supra). 

In  I  Sani.  ii.  1-10,  we  have  the  prayer  of  a  mother  in  Israel, 
expressed  iti  antithetic  parallel  lines,  as  follows  : 

1  Aud  Ilanuali  prayed,  and  said, 
Mv  heart  rejoiceth  in  the  Lord, 
Mine  born  is  exalted  in  the  Lord : 

My  mouth  is  enlarged  over  mine  enemies; 
Because  I  rejoice  in  thy  salvation. 

2  There  is  none  holy  as  the  Lord : 
For  there  is  none  beside  thee : 
Iseither  is  there  any  rock  like  our  God. 

8  Talk  no  more  so  exceeding  proudly ; 

Let  7wt  arrogancy  come  out  of  your  mouth : 
For  the  Lord  is  a  God  of  knowledge, 


I  SAMUEL  II.  1-10.  255 

And  by  bim  actions  are  weighed. 

4  The  bows  of  the  mighty  men  are  broken, 

And  they  that  stumbled  are  girded  with  strength. 

5  They  that  v:ere  Ml  have  hired  out  themselves  for 

bread ; 

And  they  that  icere  hungry  ceased : 

So  that  the  barren  hath  born  seven  ; 

And  she  that  hath  many  children  is  waxed  feeble. 

6  The  Lord  killeth,  and  maketh  alive : 

He  bringeth  down  to  the  grave,  and  bringeth  up. 

7  The  Lord  maketh  poor,  and  maketh  rich : 
He  bringeth  low,  and  lifteth  up. 

8  He  raiseth  up  the  poor  out  of  the  dust, 
And  lifteth  up  the  beggar  from  the  dunghill, 
To  set  them  among  princes, 

And  to  make  them  inherit  the  throne  of  glory : 
For  the  pillars  of  the  earth  are  the  Lord's, 
And  he  hath  set  the  world  upon  them. 

9  He  will  keep  the  feet  of  his  saints. 

And  the  wicked  shall  be  silent  in  darkness ; 
For  by  strength  shall  no  man  prevail. 
10  The  adversaries  of  the  Lord  shall  be  broken  to  pieces  ; 
Out  of  heaven  shall  he  thunder  upon  them : 
The  Lord  shall  judge  the  ends  of  the  earth  ; 
And  he  shall  give  strength  unto  his  King, 
And  exalt  the  horn  of  his  anointed. 

Hannah  rises  in  a  kind  of  triumphal  climax  from  her  o\m 
domestic  happiness  to  that  of  her  fellow-men  at  large.  She 
returns  thanks  to  God,  in  an  impressive  manner,  for  the  birth 
of  Samuel,  who  was  destined  to  be  a  renowned  prophet  of  the 
Lord. 

In  n  Sam.  i.  19-27,  we  have  an  admirable  specimen  of 
elegiac  poetry  from  the  sweet  singer  of  Israel.  We  present 
Herder's  translation  (Marsh's  Ed.)  : 


256 


DAYID  MOURXS  FOR  JONATHAN, 


DAVID'S  LAMENTATION  FOR  JONATHAN,  HIS  FRIEND. 

19  Beautiful  Roe,  thou  pride  and  glory  of  Israel ! 
Thus  then  art  thou  wounded  upon  thy  high  places! 

Chorus.    Fallen,  fallen  are  the  heroes ! 

How  are  the  heroes  fallen  ? 

20  Tell  ye  it  not  in  Gath, 

Publish  it  not  in  the  streets  of  Askelon, 

Lest  the  daughters  of  the  Philistines  rejoice. 

Lest  the  daughters  of  the  uncircumcised  leap  for  joy. 

21  Ye  mountains  of  Gilboa,  on  you  henceforth 
Let  no  more  rain  nor  dew  descend  forever. 

No  more  on  you,  ye  mountains  blighted  with  a  curse, 
For  there  the  shield  of  heroes  was  struck  down. 
The  shield  of  Saul,  as  of  one  unconsecrated  with  oil. 

22  From  the  blood  of  the  slain,  from  the  fat  of  the  strong, 
The  bow  of  Jonathan  never  turned  backward, 

The  sword  of  Saul  returned  not  empty.  (It  reached 
the  blood  of  the  slain). 

23  Saul  and  Jonathan,  dear  to  each  other  in  life. 
They  went  undivided  in  love  to  the  realm  of  shades: 
Swifter  than  eagles,  bolder  were  they  than  lions. 

24  Daughters  of  Israel,  weep  ye  for  Saul, 

Ko  more  will  he  clothe  you  in  garments  of  purple, 
Nor  deck  your  apparel  with  ornaments  of  gold. 

25  Chorus.    Ah  !  how  are  the  heroes  fallen  in  the 

midst  of  hattle^ 
Jonathan^  thou  lovely  Boe^  slain  on  thy 
high  jplaces. 

26  I  am  afflicted  for  thee,  my  brother  Jonathan, 
Lovely  wast  thou  to  me,  exceeding  lovely. 

Yea,  my  love  for  thee  surpassed  the  love  of  women. 

27  Chorus.    Ah  !  how  are  the  heroes  fallen^ 

And  their  weaj>ons  of  war  perished. 


II  SAMUEL  III.  33,  34. 


257 


These  lines  are  tender,  plaintive,  and  exceedingly  touching. 
David  loved  Jonathan  as  he  did  his  own  soul,  and  not  without 
reason,  for  the  latter,  though  a  prince,  and  the  lawful  heir  to 
the  throne  of  Israel,  allowed  the  son  of  Jesse  to  be  anointed 
king.  Saul  had  disregarded  the  divine  command,  and  was  re- 
jected of  God  ;  but  when  the  shepherd-boy  was  made  king  in 
his  place,  he  sought  to  take  his  life.  Jonathan  continued  to  be 
a  true  friend  to  the  young  king,  and  often  shielded  him  from  the 
darts  of  his  father  Saul.  In  a  battle  on  Mount  Gilboa  Saul 
and  Jonathan  were  slain,  and  in  view  of  that  mournful  fact, 
David  breaks  forth  in  this  splendid  elegy,  in  honor  of  both. 

In  II  Sam.  iii.  33,  34,  David  utters  five  lines  of  the  same 
kind  of  poetry,  in  honor  of  Abner,  the  leader  of  the  party  op- 
posed to  hiin.  The  following  is  Herder's  translation  of  it 
(Marsh's  Ed.)  : 

"  Abner  died  not  as  a  coward  dietb ! 
Thy  hands  were  not  bound, 
Nor  thy  feet  put  in  fetters. 
As  one  falleth  before  wicked  men, 
So  fellest  thou." 

The  soul  of  David  was  full  of  tender  and  lofty  emotions, 
and  when  his  friends  or  even  his  enemies  were  in  mourning,  or 
were  swept  away  by  the  rude  hand  of  the  destroyer,  he  was 
always  ready  to  pour  forth  the  overflowing  sympathies  and 
benevolence  of  his  nature,  in  plaintive  and  elegant  rhythm. 

His  triumphal  song,  recorded  in  II  Sam.  xxii.  2-51,  and 
xxiii.  2-7,  we  have  already  considered  (vid.  pp.  180-185,  supra). 

In  II  Kings  xix.  21-34,  there  is  a  terrific  denunciation  by 
Jehovah,  through  his  servant,  Isaiah,  against  Sennacherib,  the 
Assyrian  monarch,  as  follows  : 

21  This  is  the  word  that  the  Lord  hath  spoken 
concerning  him ; 

The  virgin  the  daughter  of  Zion 

Hath  despised  thee,  and  laughed  thee  to  scorn ; 


258  DENUNCIATION  OF  SENNACHERIB. 

The  daughter  of  Jerusalem  hath  shaken  her  head  at 
thee. 

22  Whom  hast  thou  reproached  and  blasphemed? 
And  against  whom  hast  thou  exalted  thy  voice, 
And  lifted  up  thine  eyes  on  high  ? 

Even  against  the  Holy  One  of  Israel. 

23  By  thy  messengers  thou  hast  reproached  the  Lord, 
And  hast  said,  With  the  multitude  of  my  chariots 
I  am  come  up  to  the  height  of  the  mountains, 

To  the  sides  of  Lebanon, 

And  will  cut  down  the  tall  cedar-trees  thereof. 
And  the  choice  fir-trees  thereof : 
And  I  will  enter  into  the  lodgings  of  his  borders. 
And  into  the  forest  of  his  Carmel. 

24  I  have  digged  and  drunk  strange  waters, 
And  with  the  sole  of  my  feet 

Have  I  dried  up  all  the  rivers  of  besieged  places. 

25  Hast  thou  not  heard  long  ago  liow  I  have  done  it, 
And  of  ancient  times  that  I  have  formed  it  ? 
Now  have  I  brought  it  to  pass, 

That  thou  shouldest  be  to  lay  waste  fenced  cities  into 
ruinous  heaps. 

26  Therefore  their  inhabitants  were  of  small  power. 
They  were  dismayed  and  confounded ; 

They  were  as  the  grass  of  the  field. 

And  as  the  green  herb,  as  the  grass  on  the  house-tops, 

And  as  corn  blasted  before  it  be  grown  up. 

27  But  I  know  thy  abode. 
And  thy  going  out. 
And  thy  coming  in. 
And  thy  rage  against  me. 

28  Because  thy  rage  against  me 

And  thy  tumult  is  come  up  into  mine  ears, 
Therefore  I  will  put  my  hook  in  thy  nose, 


II  KINGS  XIX.  21-34. 


259 


And  my  bridle  in  thy  lips, 

And  I  will  turn  thee  back  by  the  way  by  which,  thou 
earnest. 

29  And  this  shall  he  a  sign  unto  thee, 

Ye  shall  eat  this  year  such  things  as  grow  of  them- 
selves, 

And  in  the  second  year  that  which,  springeth  of  the 
same ; 

And  in  the  third  year  sow  ye  and  reap, 
And  plant  vineyards,  and  eat  the  fruits  thereof. 
80  And  the  remnant  that  is  escaped  of  the  house  of  Judah 
Shall  yet  again  take  root  downward,  and  bear  fruit 
upward. 

31  For  oat  of  Jerusalem  shall  go  forth  a  remnant, 
And  they  that  escape  out  of  mount  Zion : 
The  zeal  of  the  Lord  of  hosts  shall  do  this. 

32  Therefore  thus  saith  the  Lord  concerning  tlie 

king  of  Assyria, 
He  shall  not  come  into  this  city, 
ISTor  shoot  an  arrow  there. 
Nor  come  before  it  w^ith  shield, 
Nor  cast  a  bank  against  it. 

83  By  the  way  that  he  came, 
By  the  same  shall  he  return. 
And  shall  not  come  into  the  citj^, 
Saith  the  Lord. 

84  For  I  will  defend  this  city,  to  save  it, 

For  mine  own  sake,  and  for  my  servant  David's  sake. 

Sennacherib  had  come  up  against  Hezekiah,  king  of  Judah, 
and  determined  to  destroy  Jerusalem.  The  latter  monarch 
prayed  earnestly  to  God,  who  interposed  in  a  wonderful  man- 
ner, in  answer  to  the  supplications  of  his  servant.  He  directs 
the  son  of  Amoz  to  utter  m  the  ears  of  Hezekiah  the  exalted 


260 


FALL  OF  THE  ASSYRIAIT  MOXARCH. 


effusions,  which  we  have  presented  above,  predicting  the  dis- 
comfiture and  ruin  of  the  haughty  Assyrian.  The  passage  is 
replete  with  sharp  rebuke  to  Sennacherib,  derision  and  fear- 
ful denunciation.  The  same  evening,  the  inspired  writer  in- 
forms us,  an  angel  of  the  Lord  smote  an  hundred  fourscore 
and  five  thousand  of  the  Assyrians.  The  remnant  retreated, 
and  finally  Sennacherib  was  murdered  at  Nineveh  by  his  own 
sons. 

David's  Psalm  of  thanksgiving,  found  in  I  Chron.  xvi.  8-36, 
has  already  been  considered  (vid.  pp.  200-202,  supra). 


BOOK  OF  JOB. 


261 


THE  BOOK  OF  JOB. 

INTRODUCTORY  REMARKS. 

This  book  receives  its  title  from  the  person  described 
in  its  pages.  It  has  been  questioned,  however,  by  bibli- 
cal scholars,  whether  the  name  of  Job  refers  to  a  real  per- 
sonage. That  it  does  not,  is  maintained  by  Maimonides, 
LeClerc,  Michaelis,  Semler,  Stock,  and  others.  That 
there  is  reference  to  a  real  personage  is  supported  by  Cal- 
met,  Heidegger,  Spanheim,  Moldenhawer,  Schultens,  Carp- 
zof,  Magee,  Lowth,  Kennicott,  Hales,  Taylor,  and  by 
evangelical  divines  generally.  The  improbability  that 
Satan  would  be  represented  as  accusing  Job,  the  inconsis- 
tency of  the  idea  that  God  should  permit  such  grievous 
temptations  and  sufferings  to  be  experienced  by  a  just 
man,  and  the  artificial  regularity  of  the  numbers  used  in 
describing  the  patriarch's  possessions,  are  presented  as 
proofs  that  the  name  does  not  indicate  a  real  personage. 
On  the  other  hand,  the  manner  in  which  different  inspired 
writers  have  spoken  of  Job  (cf  Eze.  xiv.  14 ;  James  v. 
11,  etc.),  and  the  fact  that  he  is  expressly  mentioned  as  a 
real  personage  by  vapous  ancient  historians,  leave  but 
little  doubt  that  such  a  man  existed. 

The  learned  Dr.  Hales  has  shown  by  astronomical  cal- 
culations that  Job's  trial  must  have  occurred  818  years 
after  the  deluge,  184  before  the  birth  of  Abraham,  and 
689  before  the  exodus  of  the  Israelites  from  Egypt,  or 
B.  C.  2337  (2130  according  to  the  usual  computation). 
The  fact  that  the  exodus  is  not  mentioned  in  the  book  of 
Job,  nor  the  destruction  of  Sodom  and  Gomorrah,  the 


262 


SCENE  OF  THE  POEM. 


great  length  of  the  patriarch's  life,  the  allusion  to  Sabian- 
ism,  one  of  the  most  ancient  superstitions,  also  the  fact 
that  all  of  the  speakers  use  the  Hebrew  language,  though 
Idum^eans  or  Arabians,  and  other  considerations,  confirm 
the  great  antiquity  of  the  poem,  and  critics  and  commen- 
tators agree  that  it  is  the  most  ancient  book  extant. 

The  scene  of  this  composition  is  laid  in  Uz,  which 
seems  to  have  been  Idumjjea  (cf.  Lam.  iv.  21),  located  be- 
tween Egypt  and  Philistia  (cf  Jer.  xxv.  20).  The  poem 
contains  a  description  of  a  great  sufferer.  Though  Job 
was  a  just  man,  he  was  lamentably  afflicted  with  a  loath- 
some disease,  as  well  as  with  the  loss  of  his  property  and 
friends.  He  was  an  Emir  or  Arabian  prince  of  great 
wealth,  authority,  and  distinction,  and  probably  his 
friends  Eliphaz,  Bildad,  and.  Zophar  were  Emirs  of  im- 
portant cities.  It  is  believed  that  the  Patriarch  had  the 
JElepliantiasis  or  leprosy  of  the  Arabians,  which  the  ancient 
medical  writer,  Paul  of  ^gineta,  characterized  as  an  uni- 
versal ulcer.  It  was  named  Elephantiasis  by  the  Greeks, 
because  it  rendered  the  skin  like  that  of  an  elephant, 
scabrous,  dark  colored,  furrowed  with  tubercles,  and  ex- 
tremely loathsome  to  the  patient  as  well  as  to  others. 
The  good  man  seemed  to  be  reduced  to  the  lowest  depths 
of  human  maisery,  and  his  mournful  condition  called  forth 
the  strongest  feelings  of  the  heart,  and  suggested  the  high- 
est kind  of  poetic  numbers. 

That  the  Book  of  Job  was  composed  by  a  single  author 
is  evident  from  the  remarkable  unity  which  is  apparent 
throughout  its  pages,  and  from  the  references  in  the  pero- 
ration to  the  exordium  and  to  other  parts  of  the  poem. 
There  is  a  difference  of  opinion,  however,  in  reference  to 
the  question,  who  that  author  was  ?  It  must  have  been 
either  Job  himself,  or  a  contemporary  of  his.  Had  it  been 
Moses,  as  some  suppose,  there  would  undoubtedly  have 


SUFFEKINGS  OF  JOB. 


263 


been  frequent  allusions  to  the  customs,  manners,  and  his- 
tory of  the  Israelites  ;  but  there  is  not  one  such  reference. 
The  grand  object  presented  to  our  contemplation,  is  the 
example  of  a  devotedly  pious  man,  suddenly  precipitated 
from  the  highest  pinnacle  of  earthly  prosperity  to  the 
most  abject  misery  and  ruin,  3'et  sustaining  his  bereave- 
ments and  sorrows  with  entire  resignation  to  the  divine 
will. 

The  book  is  a  kind  of  elegiac  drama.  Bishop  Lowth 
considers  it,  "  to  some  extent,  a  dramatic  poem,  as  the 
parties  are  introduced  as  speaking  with  great  fidelity  of 
character,  and  as  it  deviates  from  strict  historical  accuracy 
for  the  sake  of  effect."  But  this  is  questioned  by  others. 
The  book  has  been  called  by  different  critics,  a  didactic, 
an  ethic,  an  epic,  and  a  dramatic  poem.  It  may  have 
some  of  the  qualities  of  all.  It  is  unique  in  its  character, 
differing  in  some  respects  from  all  the  other  specimens  of 
poetry  in  the  sacred  Scriptures. 

The  circumstances  under  which  it  was  composed  are 
exciting  in  the  highest  degree.  A  mortal  is  suddenly  re- 
duced fiom  princely  affluence  to  the  most  distressing  pov- 
erty and  misery  imaginable — enduring,  without  a  murmur, 
apparently  more  than  human  nature  could  bear — his  rela- 
tives, of  great  influence  and  power,  visiting  him  for  the 
avowed  purpose  of  consolation,  but  reproaching  him,  and 
uttering  unjust  suspicions  in  reference  to  the  motives  by 
which  he  was  actuated — Job  in  his  wretchedness  appeal- 
ing to  the  Almight}^,  and  the  Eternal,  from  his  throne, 
condescending  to  hold  conversation  with  him.  This  ac- 
cumulation of  mournful  circumstances  is  adapted  to  arouse 
all  the  energies  of  the  soul,  and  produce,  in  the  mind,  the 
sublimest  emotions. 

The  power  of  lifelike  description  here  exhibited  is  far 
superior  to  that  of  any  other  of  the  sacred  poets.    As  we 


264 


SUBLIMITY  OF  THE  POEM. 


read,  we  feel  that  we  are  in  the  midst  of  the  wild  sublim- 
ities of  nature,  where  the  lightnings  play  and  the  thun- 
ders roll.  We  see  the  parched  desert,  and  then  the  dash- 
ing, whirling  tempest.  We  hear  the  tiger's  growl  and  the 
lion's  roar.  We  behold  nature  in  her  simplest,  roughest, 
and  yet  grandest  form ;  we  seem  to  be  grappling  with  the 
terrific  war-horse,  the  monster  behemoth,  and  the  power- 
ful leviathan  ;  and  then  we  are  listening  to  the  strange, 
wild  music  of  nature.  How  vivid  is  Eliphaz's  description 
of  a  vision  of  the  night.  Darkness  surrounds  him.  He 
is  alone  on  his  bed.  Suddenly  a  shuddering  comes  over 
him.  A  kind  of  indefinite  shadow  moves  before  him. 
He  fears  and  trembles  until  every  bone  shakes.  At 
length  be  perceives,  more  distinctly,  a  spirit  passing.  His 
hair  is  erect.  It  is  a  form  without  a  marked  outline — a 
messenger  from  another  world — and  then  a  still,  small 
voice  is  heard.  "'How  can  man  be  more  just  than  God, 
or  mortal  man  more  just  than  his  Maker?  " 

This  is  a  masterly  description,  excelling  even  ^Milton's 
representation  of  chaos.  The  whole  poem  is  full  of  orien- 
tal rudeness,  beauty,  and  grandeur. 

Elegiac,  as  well  as  lyric  poetry,  was  often  accompanied 
by  plaintive  music.  Some  of  the  Psalms  of  David  are 
sacred  elegies,  and  their  recital  was  doubtless  accompanied 
by  plaintive  notes  from  his  enchanting  harp.  The  origi- 
nal recital  of  the  book  of  Job  was  not  probably  accom- 
panied by  either  instrumental  or  vocal  music,  as  the  occa- 
sion did  not  seem  to  require  it.  Its  metrical  arrangement, 
however,  is  adapted  to  musical  accompaniments. 

The  commencement  and  close  of  the  book  are  written 
in  prose.  The  exordium  contains  a  description  of  Job's 
wealth,  domestic  prosperity  and  happiness.  Then  follows 
an  account  of  a  remarkable  conversation  between  the 
Great  Creator  and  the  arch-Deceiver  of  mankind,  in  refer- 


job's  temptation. 


265 


ence  to  a  just  man  called  Job.  Jehovah  directs  the  atten- 
tion of  Satan  to  him  as  "  perfect  and  upright  above  any 
other  person  upon  the  earth."  The  Deceiver  replies,  and 
utters  the  suspicion  that  Job  exhibits  apparent  piety  from 
the  fact  that  he  had  been  continually  blessed  and  never 
afflicted.  Then  God  permits  him  to  sift  the  good  man,  as 
wheat,  that  his  faith  may  be  thoroughly  tried.  The  Devil 
retires  from  the  presence  of  the  Lord,  and  the  sad  tidings 
are  speedily  brought  to  the  old  patriarch  that  his  oxen 
and  asses  had  been  carried  away  by  the  Sab^eans,  and 
that  some  of  his  servants  had  been  slain.  Next,  his 
sheep,  and  other  servants  are  consumed  by  fire  from  heav- 
en. Then  his  camels  are  captured  by  the  Chaldaeans, 
and  finally  it  is  announced  that  his  sons  are  buried  be- 
neath the  ruins  of  the  house  in  which  they  had  assem- 
bled. These  accumulated  and  terrible  afflictions  deeply 
af&icted  the  man  of  God  ;  but  he  did  not  murmur.  He 
arose,  rent  his  mantle,  shaved  his  head,  and  falling  upon 
the  earth,  worshipped  God,  exclaiming,  in  plaintive,  poetic 
strains, 

Naked  came  I  out  of  my  mother's  womb, 
And  naked  shall  I  return  thither  : 
The  Lord  gave,  and  the  Lord  hath  taken  away ; 
Blessed  be  the  name  of  the  Lord." 

Vid.  Job  i.  21. 

The  second  chapter  of  the  book  is  written  in  prose,  in 
the  first  part  of  which  is  found  a  continuation  of  the  con- 
versation between  Deity  and  Satan.  Jehovah  descants 
npon  the  perseverance  of  the  patriarch  in  his  integrity 
though  in  so  great  distress,  while  the  latter  intimates,  that 
if  the  good  man  should  be  attacked  by  disease,  he  would 
curse  his  Maker.  God  permits  the  Devil  to  afflict  him 
still  more  severely,  and  the  fiend  smites  him  with  sore 
12 


266 


A  TOUCHIXG  ELEGY. 


boils  upon  every  part  of  his  body,  and  he  sits  in  ashes. 
His  -wife,  perceiving  his  anguish,  advises  him  to  curse 
God,  and  die  ;  but  he  reproves  her,  and  still  maintains  his 
integrity.  His  three  friends,  Eliphaz  the  Temanite,  Bildad 
the  Shuhite,  and  Zophar  the  Naamathite,  also  visit  him, 
and  beholding  his  great  affliction,  mingle  their  tears  with 
his,  rend  their  mantles,  sprinkle  dust  upon  their  heads, 
and  sit  with  him  in  silence  upon  the  ground,  during  seven 
days  and  seven  nights.  Finally,  Job's  distress  is  so  aggra- 
vated that  human  nature  is  overwhelmed,  and  he  breaks 
the  sad  silence  by  bitter  asseverations,  in  the  following 
plaintive  strains  of  elegiac  poetry. 

JOB'S  PLAINTIVE  ADDRESS. 

Job  iii.  2-26. 

2  And  Job  spake,  and  said, 

3  Let  the  day  perish  wherein  I  was  born, 
And  the  night  in  vjhich  it  was  said, 
There  is  a  man-child  conceived. 

4  Let  that  day  be  darkness  ; 

Let  not  God  regard  it  from  above. 
Neither  let  the  light  shine  upon  it. 

5  Let  darkness  and  the  shadow  of  death  stain  it ; 
Let  a  cloud  dwell  upon  it ; 

Let  the  blackness  of  the  day  terrify  it. 

6  ^5  for  that  night,  let  darkness  seize  upon  it ; 
Let  it  not  be  joined  unto  the  days  of  the  j^ear. 
Let  it  not  come  into  the  number  of  the  months. 

7  Lo,  let  that  night  be  solitary, 
Let  no  joyful  voice  come  therein. 

8  Let  them  curse  it  that  curse  the  day, 
Who  are  ready  to  raise  up  their  mourning. 

9  Let  the  stars  of  the  twilight  thereof  be  dark ; 


JOB  III.  2-26. 


267 


Let  it  look  for  the  light,  but  have  none  ; 
Neither  let  it  see  the  dawning  of  the  day  : 

10  Because  it  shut  not  up  the  doors  of  my  mother's  womb, 
jSTor  hid  sorrow  from  mine  eyes. 

11  TThy  died  I  not  from  the  womb  ? 

Why  did  I  not  give  up  the  ghost  when  I  came  out  of 
the  belly  ? 

12  TThy  did  the  knees  prevent  me  ? 

Or  why  the  breasts  that  I  should  suck  ? 

13  For  now  should  I  have  lain  still  and  been  quiet, 
I  should  have  slept ;  then  had  I  been  at  rest, 

14  "With  kings  and  counsellors  of  the  earth, 
Which  built  desolate  places  for  themselves  ; 

15  Or  with  princes  that  had  gold, 
Who  filled  their  houses  with  silver : 

16  Or  as  an  hidden  untimelj^  birth  I  had  not  been  ; 
As  infants  ichich  never  saw  light. 

17  There  the  wicked  cease  from  troubling  ; 
And  there  the  weary  be  at  rest. 

18  There  the  prisoners  rest  together  ; 

They  hear  not  the  voice  of  the  oppressor, 

19  The  small  and  great  are  there  ; 

And  the  servant  is  free  from  his  master. 

20  Wherefore  is  light  given  to  him  that  is  in  miser}^ 
And  life  unto  the  bitter  in  soul ; 

21  Which  long  for  death,  but  it  conieih  not ; 
And  dig  for  it  more  than  for  hid  treasures ; 

22  Which  rejoice  exceedingly,  and  are  glad, 
When  they  can  find  the  grave  ? 

23  TTA?/  is  light  given  to  a  man  whose  way  is  hid. 
And  whom  God  hath  hedged  in  ? 

24  For  ni}^  sighing  cometh  before  I  eat. 

And  ni}'  roarings  are  poured  out  like  the  waters, 

25  For  the  thing  which  I  greatly  feared  is  come  upon  me, 


268 


PLOT  OF  THE  POEM. 


And  that  which  I  was  afraid  of  is  come  unto  me. 
26  I  was  not  in  safety,  neither  had  I  rest, 
Neither  was  I  quiet ;  yet  trouble  came. 

In  this  complaint  of  the  patriarch,  he  utters  passionate  ex- 
clamations and  execrations  of  the  day  of  his  birth. 

Here  properly  begins  the  plot  of  the  poem.  The  friends  of 
Job,  who  had  professedly  come  to  administer  consolation  in 
this  trying  hour,  had,  thus  far,  remained  in  silence.  On  hear- 
ing his  vehement  complaints,  however,  they  seemed  to  be  ex- 
asperated. They  had  unholy  suspicions  in  reference  to  his  in- 
tegrity, and  finally  reproached  him  with  severity.  This  cruel 
treatment  added  tenfold  to  the  load  of  sorrow  which  was 
crushing  his  spirit. 

Eliphaz  first  raised  his  warning  voice  and  condemned  Job's 
impatience,  distrusting  his  integrity,  and  intimating  that  the 
chastisement  of  God  had  justly  come  upon  him,  a  fact  which  he 
should  not  despise.  The  miserable  comforter  speaks  in  the 
following  vindictive  manner : 

REPLY  OF  ELIPHAZ  TO  JOB. 

Job  iv.  1-21. 

1  Then  Eliphaz  the  Temanite,  answered  and  said, 

2  7/^  we  assay  to  commune  with  thee,  wilt  thou  be 

grieved  ? 

But  who  can  withhold  himself  from  speaking  ? 

3  Behold,  thou  hast  instructed  many, 

And  thou  hast  strengthened  the  weak  hands. 

4  Thy  words  have  upholden  him  that  was  falling, 
And  thou  hast  strengthened  the  feeble  knees. 

5  But  now  it  is  come  upon  thee,  and  thou  faintest ; 
It  toucheth  thee,  and  thou  art  troubled. 

6  Is  not  this  thy  fear,  thy  confidence, 

Thy  hope,  and  the  uprightness  of  thy  ways  ? 


JOB  IV.  1--21. 


269 


T  Remember,  I  pray  tliee,  who  ever  perished,  being  in- 
nocent ? 

Or  where  were  the  righteous  cut  off? 

8  Even  as  I  have  seen,  they  that  plow  iniquity. 
And  sow  wickedness,  reap  the  same. 

9  By  the  blast  of  God  they  perish, 

And  by  the  breath  of  his  nostrils  are  they  consumed. 

10  The  roaring  of  the  lion,  and  the  voice  of  the  fierce 

lion, 

And  the  teeth  of  the  young  lions,  are  broken. 

11  The  old  lion  perisheth  for  lack  of  prey. 

And  the  stout  lion's  whelps  are  scattered  abroad. 

12  Now  a  thing  was  secretly  brought  to  me, 
And  mine  ear  received  a  little  thereof 

13  In  thoughts  from  the  visions  of  the  night. 
When  deep  sleep  falleth  on  men, 

14  Fear  came  upon  me,  and  trembling. 
Which  made  all  my  bones  to  shake. 

15  Then  a  spirit  passed  before  my  face  ; 
The  hair  of  my  flesh  stood  up : 

16  It  stood  still,  but  I  could  not  discern  the  form  thereof ; 
An  image  luas  before  mine  eyes. 

There  loas  silence,  and  I  heard  a  voice,  saying^ 

17  '  Shall  moi-tal  man  be  more  just  than  God  ? 
Shall  a  man  be  more  pure  than  his  Maker  ? 

18  Behold,  he  put  no  trust  in  his  servants  ; 
And  his  angels  he  charged  with  folly  : 

19  How  much  less  in  them  that  dwell  in  houses  of  clay. 
Whose  foundation  is  in  the  dust,  wliich  are  crushed 

bef  )re  the  moth  ? 

20  They  aie  destroyed  from  morning  to  evening : 
They  perish  for  ever  without  any  regarding  it. 

21  Doth  not  their  excellency  v:]iich  is  in  them  go  away  ? 
They  die,  even  without  wisdom.' 


270 


REPLY  OF  ELIPHAZ  TO  JOB. 


FARTHER  REPLY  OF  ELIPHAZ  TO  JOB. 

Job  v.  1-27. 

1  Call  now,  if  there  be  any  that  will  answer  thee ; 
And  to  which  of  the  saints  wilt  thou  turn  ? 

2  For  wrath  killeth  the  foolish  man, 
And  envy  slayeth  the  silly  one. 

3  I  have  seen  the  foolish  taking  root : 
But  suddenly  I  cursed  his  habitation. 

4  His  children  are  far  from  safety, 
And  they  are  crushed  in  the  gate, 
Neither  is  there  any  to  deliver  them. 

5  Whose  harvest  the  hungry  eateth  up, 
And  taketh  it  even  out  of  the  thorns, 

And  the  robber  swalloweth  up  their  substance. 

6  Although  affliction  cometh  not  forth  of  the  dust, 
Neither  doth  trouble  spring  out  of  the  ground  ; 

7  Yet  man  is  born  unto  trouble. 
As  the  sparks  fly  upward. 

8  I  would  seek  unto  God, 

And  unto  Grod  would  I  commit  niy  cause : 

9  Which  doeth  great  things  and  unsearchable  ; 
Marvellous  things  without  number  : 

10  Who  giveth  rain  upon  the  earth, 
And  sendeth  waters  upon  the  fields  : 

11  To  set  up  on  high  those  that  be  low  ; 

That  those  which  mourn  may  be  exalted  to  safety. 

12  He  disappointeth  the  devices  of  the  crafty. 

So  that  their  hands  cannot  perform  their  enterprise. 

13  He  taketh  the  wise  in  their  own  craftiness  : 

And  the  counsel  of  the  fro  ward  is  carried  headlong. 

14  They  meet  with  darkness  in  the  day-time. 
And  grope  in  the  noon-day  as  in  the  night. 

15  But  he  saveth  the  poor  from  the  sword, 


JOB  V.  1-27. 


271 


From  tlieir  mouth,  and  from  tlie  hand  of  the  mighty. 
Id  So  the  poor  hath  hope, 

And  iniquity  stoppeth  her  mouth. 

17  Behold,  happy  is  the  man  whom  God  correcteth : 
Therefore  despise  not  thou  the  chastening  of  the  Al- 
mighty: 

18  For  he  maketh  sore,  and  bindeth  up  : 

He  woundeth,  and  his  hands  make  whole. 

19  He  shall  deliver  thee  in  six  troubles  : 

Yea,  in  seven  there  shall  no  evil  touch  thee. 

20  In  famine  he  shall  redeem  thee  from  death : 
And  in  war  from  the  power  of  the  sword. 

21  Thou  shalt  be  hid  from  the  scourge  of  the  tongue : 
Neither  shalt  thou  be  afraid  of  destruction  when  it 

Cometh. 

22  At  destraction  and  famine  thou  shalt  laugh : 
Neither  shalt  thou  be  afraid  of  the  beasts  of  the  earth. 

23  For  thou  shalt  be  in  league  with  the  stones  of  the  field  : 
And  the  beasts  of  the  field  shall  be  at  peace  with  thee. 

24  And  thou  shalt  know  that  thy  tabernacle  shall  he  in 

peace ; 

And  thou  shalt  visit  thy  habitation,  and  shalt  not  sin. 

25  Thou  shalt  know  also  that  thy  seed  shall  he  great, 
And  thine  offspring  as  the  grass  of  the  earth. 

26  Thou  shalt  come  to  thy  grave  in  a  full  age, 
Like  as  a  shock  of  corn  cometh  in  in  his  season. 

27  Lo  this,  we  have  searched  it,  so  it  is  ; 
Hear  it,  and  know  thou  it  for  thy  good. 

Job  answered  by  referring  to  his  severe  trials,  and  com- 
plained of  the  unkindness  of  his  friends,  calling  upon  God  and 
man  to  witness  that  he  was  unjustly  oppressed ;  but  he  knew 
that  he  could  not  contend  with  his  Maker. 

The  address  is  full  of  enthusiasm  and  poetic  beauty.  It  is 
the  following  : 


272 


REPLY  OF  JOB. 


REPLY  OF  JOB  TO  ELIPHAZ. 

^  Job  vi.  1-30. 

1  But  Job  answered,  and  said, 

2  0  that  my  grief  were  thoroughly  weighed, 
And  my  calamity  laid  in  the  balances  together ! 

3  For  now  it  would  be  heavier  than  the  sand  of  the  sea: 
Therefore  my  words  are  swallowed  up. 

4  For  the  arrows  of  the  Almighty  are  within  me, 
The  poison  whereof  drinketh  up  my  spirit : 

The  terrors  of  God  do  set  themselves  in  array  against 
me. 

5  Doth  the  wild  ass  bray  when  he  hath  grass? 
Or  loweth  the  ox  over  his  fodder  ? 

6  Can  that  which  is  unsavory  be  eaten  without  salt  ? 
Or  is  there  any  taste  in  the  white  of  an  egg  ? 

7  The  things  that  my  soul  refused  to  touch 
Are  as  my  sorrowful  meat. 

8  0  that  I  might  have  my  request ; 

And  that  God  would  grant  m.e  the  thing  that  I  long  for ! 

9  Even  that  it  would  please  God  to  destroy  me  ; 
That  he  would  let  loose  his  hand,  and  cut  me  off! 

10  Then  should  I  yet  have  comfort ; 

Yea,  I  would  harden  myself  in  sorrow : 
Let  him  not  spare  ;  for  I  have  not  concealed  the  words 
of  the  Holy  One. 

11  "What  is  my  strength,  that  I  should  hope  ? 

And  what  is  mine  end,  that  I  should  prolong  my  life? 

12  Is  my  strength  the  strength  of  stones  ? 
Or  is  my  flesh  of  brass  ? 

13  Is  not  my  help  in  me  ? 

And  is  wisdom  driven  quite  from  me  ? 

14  To  him  that  is  afflicted,  pity  should  he  showed  from  his 

friend ; 


JOB  YI.  1-30. 


273 


But  he  forsaketh  the  fear  of  the  Almighty. 

15  My  brethren  have  dealt  deceitfully  as  a  brook, 
And  as  the  stream  of  brooks  they  pass  away ; 

16  TThich  are  blackish  by  reason  of  the  ice, 
And  wherein  the  snow  is  hid : 

17  What  time  they  wax  warm,  they  vanish  : 

"When  it  is  hot,  they  are  consumed  out  of  their  place, 

18  The  paths  of  their  way  are  turned  aside  ; 
They  go  to  nothing,  and  perish. 

19  The  troops  of  Tema  looked, 

The  companies  of  Sheba  waited  for  them. 

20  They  were  confounded  because  they  had  hoped  ; 
They  came  thither,  and  were  ashamed. 

21  For  now  ye  are  nothing  ; 

Ye  see  my  casting  down,  and  are  afraid. 

22  Did  I  say,  Bring  unto  me  ? 

Or,  Give  a  reward  for  me  of  your  substance  ? 

23  Or,  Deliver  me  from  the  enemy's  hand  ? 

Or,  Eedeem  me  from  the  hand  of  the  mighty  ? 

24  Teach  me,  and  I  will  hold  my  tongue  : 

And  cause  me  to  understand  wherein  I  have  erred. 

25  How  forcible  are  right  words  ! 

But  what  doth  your  arguing  reprove  ? 

26  Do  ye  imagine  to  reprove  words, 

And  the  speeches  of  one  that  is  desperate, 
Which  are  as  wind  ? 

27  Yea,  ye  overwhelm  the  fatherless. 
And  ye  dig  a  pit  for  your  friend. 

28  Now  therefore  be  content,  look  upon  me  ; 
For  it  is  evident  unto  you  if  I  lie. 

29  Return,  I  pray  you,  let  it  not  be  iniquity  ; 
Yea,  return  again,  my  righteousness  is  in  it. 

80  7^  there  iniquity  in  my  tongue  ? 

Cannot  my  taste  discern  perverse  things  ? 


274: 


FARTHER  REPLY  OF  JOB. 


FARTHER  REPLY  OF  JOB  TO  ELIPHAZ. 

Job  vii.  1-21. 

1  Is  there  not  an  appointed  time  to  man  npon  earth  ? 
Are  not  bis  days  also  like  the  days  of  an  hireling  ? 

2  As  a  servant  earnestly  desireth  the  shadow, 

And  as  an  hireling  looketh  for  the  reward  of  his  work  : 

3  So  am  I  made  to  possess  months  of  vanity, 
And  wearisome  nights  are  appointed  to  me. 

4  When  I  lie  down,  I  say,  When  shall  I  arise,  and  the 

night  be  gone  ? 
And  I  am  full  of  tossings  to  and  fro  unto  the  dawning 
of  the  day. 

5  My  flesh  is  clothed  with  worms  and  clods  of  dust ; 
My  skin  is  broken,  and  become  loathsome. 

6  My  days  are  swifter  than  a  weaver's  shuttle, 
And  are  spent  without  hope. 

7  Oh  1  remember  that  my  life  is  wind  : 
Mine  eye  shall  no  more  see  good. 

8  The  eye  of  him  that  hath  seen  me  shall  see  me  no 

moi^e : 

Thine  eyes  are  upon  me,  and  I  am  not. 

9  As  the  cloud  is  consumed  and  vanisheth  away  : 

So  he  that  goeth  down  to  the  grave  shall  come  up  no 
7no7'e. 

10  He  shall  return  no  more  to  his  house, 
Neither  shall  his  place  know  him  any  more. 

11  Therefore  I  will  not  refrain  my  mouth  ; 

I  will  speak  in  the  anguish  of  my  spirit ; 
I  will  complain  in  the  bitterness  of  my  soul. 

12  Am  I  a  sea,  or  a  whale,  that  thou  settest  a  watch  over 

me  ? 

13  When  I  say.  My  bed  shall  comfort  me, 
My  couch  shall  ease  my  complaint ; 


JOB  VII.  1-21. 


275 


14:  Then  thou  scarest  me  T\'ith  dreams, 
And  terrifiest  me  through  visions  : 

15  So  that  my  soul  chooseth  strangling, 
A7id  death  rather  than  my  life. 

16  I  loathe  it  ;  I  would  not  live  alway  : 
Let  me  alone  ;  for  my  days  are  vanity. 

17  What  is  man,  that  thou  shouldest  magnify  him  ? 
And  that  thou  shouldest  set  thine    heart  upon 

him  ? 

18  And  that  thou  shouldest  visit  him  every  morning. 
And  try  him  every  moment  ? 

19  How  long  wilt  thou  not  depart  from  me, 

Nor  let  me  alone  till  I  swallow  down  my  spittle  ? 

20  I  have  sinned  :  what  shall  I  do  "unto  thee, 

0  thou  preserver  of  men  ?  why  hast  thou  set  me  as  a 

mark  against  thee. 
So  that  I  am  a  burden  to  myself  ? 

21  And  why   dost   thou  not  pardon  my  transgres- 

sions. 

And  take  away  mine  iniquity  ? 
For  now  shall  I  sleep  in  the  dust ; 
And  thou  shalt  seek  me  in  the  morning,  but  I  shall 
not  le. 

Bildad  next  speaks,  in  the  same  overhearing  manner,  severely 
reproving  the  patriarch.  Zophar  is  still  more  inveterate,  openly 
upbraiding  Job  with  arrogance,  vanity,  and  falsehood.  The 
good  man  expostulates  with  his  friends,  and  they  reply  with 
still  greater  acerbity,  employing  splendid  oriental  imagery. 
Finally,  Elihu,  offended  with  both  parties,  descants  with  great 
energy,  pathos,  and  power.  He  reproves  Job  for  justifying 
himself  before  God,  and  blames  the  three  friends  because  they 
condemn  the  patriarch  without  any  evidence  of  his  guilt. 

The  several  addresses  of  Elihu,  to  which  Job  made  no  reply, 
are  the  following  : 


276 


HEBREW  POETRY. 


ADDRESS  OF  ELIHU  TO  JOB.  EXORDIOI. 

Job  xxxii.  6-22. 

6  And  Eliliu  the  son  of  Baracliel  the  Buzite 

answered  and  said, 
I  am  young,  and  ye  are  very  old ; 
Wherefore  I  was  afraid,  and  durst  not  show  you  mine 

opinion. 

7  I  said,  Days  should  speak, 

And  multitude  of  years  should  teach  wisdom. 

8  But  there  is  a  spirit  in  man  : 

And  the  inspiration  of  the  Almighty  giveth  them 
understanding. 

9  Great  men  are  not  always  wise : 
Neither  do  the  aged  understand  judgment. 

10  Therefore  I  said,  Hearken  to  me ; 
I  also  will  show  mine  opinion. 

11  Behold,  I  waited  for  your  words ; 

I  gave  ear  to  your  reasons,  whilst  ye  searched  out 
what  to  say. 

12  Yea,  I  attended  unto  you. 

And,  behold,  tJiere  was  none  of  you  that  con\dnced  Job, 
Or  that  answered  his  words  : 

13  Lest  ye  should  say,  We  have  found  out  wisdom : 
God  thrusteth  him  down,  not  man. 

14  Now  he  hath  not  directed  his  words  against  me : 
Neither  will  I  answer  him  with  your  speeches. 

15  They  were  amazed,  they  answered  no  more : 
They  left  off  speaking. 

16  When  I  had  waited,  (for  they  spake  not. 
But  stood  still,  and  answered  no  more) ; 

17  I  said ^  I  will  answer  also  my  part, 
I  also  will  show  mine  opinion. 

18  For  I  am  full  of  matter, 


JOB  XXXIII.  1-33. 


277 


The  spirit  within  me  constraineth  me. 

19  Behold,  my  belly  is  as  wine  which  hath  no  vent ; 
It  is  ready  to  burst  like  new  bottles. 

20  I  will  speak,  that  I  may  be  refreshed : 
I  will  open  my  lips  and  answer. 

21  Let  me  not,  I  pray  you,  accept  any  man's  person, 
Neither  let  me  give  flattering  titles  unto  man. 

22  For  I  know  not  to  give  flattering  titles ; 

In  so  doing  my  maker  would  soon  take  me  away. 

OPENING  OF  THE  ARGUMENT. 

Job  xxxiii.  1-33. 

1  Wherefore,  Job,  I  pray  thee,  hear  my  speeches, 
And  hearken  to  all  my  words. 

2  Behold,  now  I  have  opened  my  mouth, 
My  tongue  hath  spoken  in  my  mouth. 

3  My  words  shall  he  of  the  uprightness  of  my  heart : 
And  my  lips  shall  utter  knowledge  clearly. 

4  The  Spirit  of  God  hath  made  me, 

And  the  breath  of  the  Almighty  hath  given  me  life. 

5  If  thou  canst  answer  me, 

Set  thy  words  in  order  before  me,  stand  up. 

6  Behold,  I  am  according  to  thy  wish  in  Grod's  stead : 
I  also  am  formed  out  of  the  clay. 

7  Behold,  my  terror  shall  not  make  thee  afraid. 
Neither  shall  my  hand  be  heavy  upon  thee. 

8  Surely  thou  hast  spoken  in  mine  hearing. 

And  I  have  heard  the  voice  of  thy  words,  saying^ 

9  I  am  clean  without  transgression, 

I  am  innocent ;  neither  is  there  iniquity  in  me. 

10  Behold,  he  findeth  occasions  against  me, 
He  counteth  me  for  his  enemy, 

11  He  putteth  my  feet  in  the  stocks, 


V 


278  HEBKEW  POETRY. 

He  marketh  all  my  paths. 

12  Behold,  in  this  thou  art  not  just: 

I  will  answer  thee,  that  God  is  greater  than  man. 

13  Why  dost  thou  strive  against  him  ?  ■ 

For  he  giveth  not  account  of  any  of  his  matters. 

14  For  God  speaketh  once,  yea  twice,  ^ 
Yet  man  perceiveth  it  not. 

15  In  a  dream,  in  a  vision  of  the  night. 
When  deep  sleep  falleth  upon  men, 
In  slumberings  upon  the  bed ; 

16  Then  he  openeth  the  ears  of  men, 
And  sealeth  iheir  instruction, 

IT  That  he  may  withdraw  mixnfrom  his  purpose, 
And  hide  pride  from  man. 

18  He  keepeth  back  his  soul  from  the  pit. 
And  his  life  from  perishing  by  the  sword. 

19  He  is  chastened  also  with  pain  upon  his  'bed, 
And  the  multitude  of  his  bones  with  strong .* 

20  So  that  his  life  abhorreth  bread. 
And  his  soul  dainty  meat. 

21  His  flesh  is  consumed  away,  that  it  cannot  be  seen ; 
And  his  bones  that  were  not  seen,  stick  out. 

22  Yea,  his  soul  draweth  near  unto  the  grave, 
And  his  life  to  the  destroyers. 

23  If  there  be  a  messenger  with  him, 

An  interpreter,  one  among  a  thousand. 
To  show  unto  man  his  uprightness: 
24:  Then  he  is  gracious  unto  him, 

And  saith,  deliver  him  from  going  down  to  the  pit : 
I  have  found  a  ransom. 

25  His  flesh  shall  be  fresher  than  a  child's : 
He  shall  return  to  the  days  of  his  youth : 

26  He  shall  pray  unto  God, 

And  he  will  be  favorable  unto  him : 


JOB  XXXIV.  1-37. 


279 


And  lie  shall  see  his  face  with  joy : 

For  he  will  render  unto  man  his  righteousness. 

27  He  looketh  upon  men, 

And  if  any  say,  I  have  sinned, 

And  perverted  lliat  which  was  right,  and  it  profited 
me  not ; 

28  He  will  deliver  his  soul  from  going  into  the  pit, 
And  his  life  shall  see  the  lio'ht. 

o 

29  Lo,  all  these  things  worketh  God  oftentimes  with  man, 

30  To  bring  back  his  soul  from  the  pit, 

To  be  enliohtened  with  the  lii^ht  of  the  livinsc. 
81  Mark  well,  0  Job,  hearken  unto  me : 

Hold  thy  peace,  and  I  will  speak. 
32  If  thou  hast  any  thing  to  say,  answer  me : 

Speak,  for  I  desire  to  justify  thee. 
38  H  not,  hearken  unto  me : 

Hold  thy  peace,  and  I  shall  teach  thee  wisdom. 

DEFENCE  OF  GOD'S  GOVERNMENT. 

Job  xxxiv.  1-37. 

1  Furthermore  Elibu  answ^ered  and  said, 

2  Hear  my  words,  O  ye  wise  men  ; 

And  give  ear  unto  me,  ye  that  have  knowledge. 
8  For  the  ear  trieth  words, 

As  the  mouth  tasteth  meat. 
4  Let  us  choose  to  us  judgment : 

Let  us  know  among  ourselves  what  is  good. 
6  For  Job  hath  said,  I  am  righteous : 

And  God  hath  taken  away  my  judgment. 

6  Should  I  lie  against  my  right? 

My  wound  is  incurable  without  transgression. 

7  What  man  is  like  Job,  \ 
Who  drinketh  up  scorning  like  water  ? 


280  HEBREW  POETRY. 

8  Which  goeth  in  company  with  the  workers  of  iniquity, 
And  walketh  with  wicked  men. 

9  For  he  hath  said,  It  profiteth  a  man  nothing 
That  he  should  delight  himself  with  God. 

10  Therefore  hearken  unto  me,  ye  men  of  understanding : 
Far  be  it  from  God,  that  he  should  do  wickedness ; 
And  from  the  Almighty,  that  he  should  commit  in- 
iquity. 

11  For  the  work  of  a  man  shall  he  render  unto  him, 
And  cause  every  man  to  find  according  to  his  ways. 

12  Yea,  surely  God  will  not  do  wickedly, 
Neither  will  the  Almighty  pervert  judgment. 

13  Who  hath  given  him  a  charge  over  the  earth  ? 
Or  who  hath  disposed  the  whole  world  ? 

14  If  he  set  his  heart  upon  man, 

If  he  gather  unto  himself  his  spirit  and  his  breath ; 

15  All  flesh  shall  perish  together. 

And  man  shall  turn  again  unto  dust. 

16  If  now  thou  hast  understanding,  hear  this: 
Hearken  to  the  voice  of  my  words. 

17  Shall  even  he  that  hateth  right  govern? 

And  wilt  thou  condemn  him  that  is  most  jast? 

18  Is  it  fit  to  say  to  a  king,  Thoit  art  wicked  ? 
And  to  princes,  Ye  are  ungodly  ? 

19  Sow  much  less  to  Jam  that  accepteth  not  the  persons 

of  princes, 

Nor  regardeth  the  rich  more  than  the  poor  ? 
For  they  all  are  the  work  of  his  hands. 

20  In  a  moment  shall  they  die, 

And  the  people  shall  be  troubled  at  midnight,  and 
pass  away : 

And  the  mighty  shall  be  taken  away  without  hand. 

21  For  his  eyes  are  upon  the  ways  of  man, 
And  he  seeth  all  his  goings. 


JOB  XXXIV.  1-37. 


281 


22  There  is  no  darkness,  nor  shadow  of  death, 
Where  the  workers  of  iniquity  may  hide  themselves. 

23  For  he  will  not  lay  upon  man  more  than  right  / 
That  he  should  enter  into  judgment  with  God. 

24  He  shall  break  in  pieces  mighty  men  without  number, 
And  set  others  in  their  stead. 

25  Therefore  he  knoweth  their  works, 
And  he  overturneth  them  in  the  night, 
So  that  they  are  destroyed. 

26  He  striketh  them  as  wicked  men 
In  the  open  sight  of  others ; 

27  Because  they  turned  back  from  him, 
And  would  not  consider  any  of  his  ways : 

28  So  that  they  cause  the  cry  of  the  poor  to  come  unto  him. 
And  he  heareth  the  cry  of  the  afflicted. 

29  "When  he  giveth  quietness,  who  then  can  make  trouble  ? 
And  when  he  hideth  his  face,  who  then  can  behold  him  ? 
Whether  it  he  done  against  a  nation,  or  against  a  man 

only : 

80  That  the  hypocrite  reign  not, 
Lest  the  people  be  ensnared. 

31  Surely  it  is  meet  to  be  said  unto  God, 

I  have  borne  chastisement^  I  will  not  offend  any  more  j 

32  That  lohich  I  see  not,  teach  thou  me: 

If  I  have  done  iniquity,  I  will  do  no  more. 
88  Should  it  le  according  to  thy  mind?  he  will  recom- 
pense it. 

Whether  thou  refuse,  or  whether  thou  choose; 

And  not  I :  therefore  speak  what  thou  knowest. 
34  Let  men  of  understanding  tell  me, 

And  let  a  wise  man  hearken  unto  me. 
85  Job  hath  spoken  with<jut  knowledge. 

And  his  words  were  without  wisdom. 
36  My  desire  is  that  J ob  may  be  tried  unto  the  end, 


282 


HEBREW  POETRY. 


Because  of  his  answers  for  wicked  men. 
37  For  he  addeth  rebellion  unto  his  sin, 
He  clappeth  his  hands  among  us, 
And  multiplieth  his  words  against  God. 

MAN'S  RIGHTEOUSNESS  YAIN. 

Job  XXXV.  1-16. 

1  Eliliu  spoke  moreover,  and  said, 

2  Thinkest  thou  this  to  be  right, 

That  thou  saidst.  My  righteousness  is  more  than  God's? 

3  For  thou  saidst,  "What  advantage  will  it  be  unto  thee? 
A7idy  What  profit  shall  I  have,  if  lie  cleansed  from 

my  sin  ? 

4  I  will  answer  thee. 

And  thy  companions  with  thee. 

5  Look  unto  the  heavens,  and  see; 

And  behold  the  clouds  ichich  are  higher  than  thou. 

6  If  thou  sinnest,  what  doest  thou  against  him? 

Or  if  th}'  transgressions  be  multiplied,  what  doest  thou 
unto  him? 

7  If  thou  be  righteous,  what  givest  thou  him? 
Or  what  receiveth  he  of -thine  hand? 

8  Thy  wickedness  may  hurt  a  man  as  thou  art ; 
And  thy  righteousness  may  profit  the  son  of  man. 

9  By  reason  of  the  multitude  of  oppressions  they  make 

the  oppressed  to  cry : 
They  cry  out  by  reason  of  the  arm  of  the  mighty. 

10  But  none  saith,  where  is  God  my  maker, 
W^ho  oiveth  song^s  in  the  nio-ht ; 

11  W^ho  teacheth  us  more  than  the  beasts  of  the  earth, 
And  maketh  us  wiser  than  the  fowls  of  heaven? 

12  There  they  cry,  but  none  giveth  answer, 
Because  of  the  pride  of  evil  men. 


JOB  XXXVI.  1-33. 


283 


13  Surely  God  will  not  hear  vanity, 

ISTeither  will  the  Almighty  regard  it. 
14:  Although  thou  sayest  thou  shalt  not  see  him, 

Yet  judgment  is  before  him ; 

Therefore  trust  thou  in  him. 

15  But  now,  because  it  is  not  so^  he  hath  visited  in  his 

anger ; 

Yet  he  knoweth  it  not  in  great  extremity : 

16  Therefore  doth  Job  open  his  mouth  in  vain ; 
He  multiplieth  words  without  knowledge. 

FARTHER  DEFENCE  OF  GOD'S  DEALINGS. 

Job  xxxvi.  1-33. 

1  Elihu  also  proceeded,  and  said, 

2  Suffer  me  a  little,  and  I  will  show  thee 
That  I  have  yet  to  speak  on  God's  behalf. 

3  I  will  fetch  my  knowledge  from  afar, 

And  will  ascribe  righteousness  to  my  Maker. 

4  For  truly  my  words  shall  not  he  false ; 

He  that  is  perfect  in  knowledge  is  with  thee. 

5  Behold,  God  is  mighty,  and  despiseth  not  any  : 
He  is  mighty  in  strength  and  wisdom. 

6  He  preserveth  not  the  life  of  the  wicked : 
But  giveth  right  to  the  poor. 

7  He  withdraweth  not  his  eyes  from  the  righteous : 
But  with  kings  are  they  on  the  throne ; 

Yea,  he  doth  establish  them  for  ever,  and  they  are  ex- 
alted. 

8  And  if  they  he  bound  in  fetters,  • 
Aiid  be  holden  in  cords  of  affliction ; 

9  Then  he  showeth  them  their  work, 

And  their  transgressions  that  they  have  exceeded. 
10  He  openeth  also  their  ear  to  discipline, 


284 


HEBREW  POETRY. 


And  commandeth  that  tbe}^  return  from  iniquity. 

11  If  they  obey  and  serve  hini^ 

They  shall  spend  their  days  in  prosperity, 
And  their  years  in  pleasures. 

12  But  if  they  obey  not, 

They  shall  perish  by  the  sword, 

And  they  shall  die  without  knowledge. 

13  But  the  h^^pocrites  in  heart  heap  up  wrath  : 
They  cry  not  when  he  bindeth  them. 

14  They  die  in  youth, 

And  their  life  is  among  the  unclean. 

15  He  delivereth  the  poor  in  his  affliction, 
And  openeth  their  ears  in  oppression. 

16  Even  so  would  he  have  removed  thee  out  of  the  strait 
l7ito  a  broad  place,  where  thej^e  is  no  straitness ; 
And  that  which  should  be  set  on  thy  table  should  he 

full  of  fatness. 

17  But  thou  hast  fulfilled  the  judgment  of  the  wicked: 
Judgment  and  justice  take  hold  on  thee. 

18  Because  there  is  wrath. 

Beware  lest  he  take  thee  away  with  his  stroke  : 
Then  a  great  ransom  cannot  deliver  thee. 

19  Will  he  esteem  thy  riches? 

JS^o.  not  gold,  nor  all  the  forces  of  strength. 

20  Desire  not  the  night. 

When  people  are  cut  off  in  their  place. 

21  Take  heed,  regard  not  iniquity  : 

For  this  hast  thou  chosen  rather  than  afl&iction. 

22  Behold,  God  exalteth  by  his  power: 
WhQ  teacheth  like  him  ? 

23  Who  hath  enjoined  him  his  way  ? 

Or  who  can  sa}^  Thou  hast  wrought  iniquity? 

24  Remember  that  thou  magnify  his  work, 
Which  men  behold. 


JOB  XXXVII.  1-24. 


285 


25  Every  man  may  see  it; 
Man  may  behold  it  afar  off. 

26  Behold,  God  is  great,  and  we  know  him  not, 
Neither  can  the  number  of  his  years  be  searched  out. 

27  For  he  maketh  small  the  drops  of  water : 

They  poar  down  rain  according  to  the  vapor  thereof: 

28  Which  the  clouds  do  drop 

And  distil  upon  man  abundantly. 

29  Also  can  any  understand  the  spreadings  of  the  clouds, 
Oi'  the  noise  of  his  tabernacle? 

80  Behold,  he  spreadeth  his  light  upon  it, 

And  covereth  the  bottom  of  the  sea. 
31  For  by  them  judgeth  he  the  people ; 

He  giveth  meat  in  abundance. 
82  With  clouds  he  covereth  the  light ; 

And  commandeth  it  not  to  shine  by  the  cloud  that 
cometh  betwixt. 
33  The  noise  thereof  showeth  concerning  it, 

The  cattle  also  concerning  the  vapor. 

SUBLIME  PERORATION. 

Job  xxxvii.  1-24. 

1  At  this  also  my  heart  trembleth, 
And  is  moved  out  of  his  place. 

2  Hear  attentively  the  noise  of  his  voice, 
And  the  sound  that  goeth  out  of  his  mouth. 

3  He  directeth  it  under  the  whole  heaven, 
And  his  lightning  unto  the  ends  of  the  earth. 

4  After  it  a  voice  roareth  : 

He  thundereth  with  the  voice  of  his  excellency; 
And  he  will  not  stay  them  when  his  voice  is  heard. 

5  God  thundereth  marvellously  with  his  voice: 

Great  things  doeth  he,  which  we  ca-nnot  comprehend. 

6  For  he  saith  to  the  snow,  Be  thou  on  the  earth  ; 


286 


HEBREW  POETRY. 


Likewise  to  the  small  rain,  and  to  tlie  great  rain  of  his 
strength. 

7  He  sealeth  up  the  hand  of  every  man  ; 
That  all  men  may  know  his  work. 

8  Then  the  beasts  go  into  dens, 
And  remain  in  their  places. 

9  Oat  of  the  south  cometh  the  whirlwind : 
And  cold  out  of  the  north. 

10  By  the  breath  of  God  frost  is  given : 

And  the  breadth  of  the  waters  is  straitened. 

11  Also  by  watering  he  wearieth  the  thick  cloud : 
He  scattereth  his  bright  cloud : 

12  And  it  is  turned  round  about  by  his  counsels : 
That  they  may  do  whatsoever  he  commandeth  them 
Upon  the  face  of  the  world  in  the  earth. 

13  He  cause th  it  to  come,  whether  for  correction, 
Or  for  his  land,  or  for  mercy. 

14  Hearken  unto  this,  0  Job : 

Stand  still,  and  consider  the  wondrous  works  of  God. 

15  Dost  thou  know  when  God  disposed  them. 
And  caused  the  light  of  his  cloud  to  shine  ? 

16  Dost  thou  know  the  balancings  of  the  clouds, 

The  wondrous  works  of  him  which  is  perfect  in  knowl- 
edge ? 

17  How  th}^  garments  are  warm. 

When  he  quieteth  the  earth  by  the  south  icindf 

18  Hast  thou  with  him  spread  out  the  sky, 
Which  is  strong,  cmd  as  a  molten  looking-glass  ? 

19  Teach  us  what  we  shall  say  unto  him ; 

For  we  cannot  order  our  speech  by  reason  of  darkness. 

20  Shall  it  be  told  him  that  I  speak  ? 

If  a  man  speak,  surely  he  shall  be  swallowed  up. 

21  And  now  men  see  not  the  bright  light  which  is  in  the 

clouds ; 


JOB  XXXVIII.  1-41. 


287 


But  the  wind  passeth,  and  cleanseth  tliera. 

22  Fair  weather  cometh  oat  of  the  north  : 
With  God  is  terrible  majesty. 

23  Touching  the  Almighty,  we  cannot  find  him  out ; 

He  is  excellent  in  power,  and  in  judgment,  and  in 

plenty  of  justice: 
He  will  not  afflict. 

24  Men  do  therefore  fear  him  : 

He  respecteth  not  any  that  are  wise  of  heart. 

Then  Jehovah  deigns  to  interfere  and  speak  to  his  servant 
Job.  The  very  idea  that  the  Supreme  Ruler  of  the  universe 
should  condescend  to  address  one  of  his  fallen  creatures  is 
morally  sublime.  He  disdains  to  enter  into  any  particular  ex- 
plication of  his  counsels ;  but  describes,  with  intense  vividness 
and  splendor,  the  stupendous  results  of  his  power.  He  reproves 
the  temerity  of  Job,  shows  his  ignorance  in  not  understanding 
the  works  of  creation,  the  structure  of  the  earth,  the  sea,  light, 
and  the  animal  kingdom.  He  then  calls  upon  the  patriarch  to 
exert  his  power,  and  equal  a  single  act  of  divine  energy.  He 
asks  Job  how  he  could  contend  with  Omnipotence  if  he  could 
not  stand  before  the  violence  of  irrational  animals,  many  of 
which  far  surpass  him  in  strength.  The  iVhnighty  proceeds 
by  a  series  of  questions  and  descriptions  adapted  to  convince 
his  complaining  servant  that  he  was  incapable  of  judging  how 
the  moral  government  of  God  should  be  administered.  The 
grandeur  and  sublimity  of  this  address  perhaps  never  was 
equalled  by  human  language.  The  following  is  Herder's  trans- 
lation of  it  (Marsh's  Ed.)  : 

ADDRESS  OF  THE  ALMIGHTY  TO  JOB. 

Job  xxxviii.  1—41. 

1  Jehovah  spoke  to  Job  from  out  of  the  tem- 

pest, and  said  to  him, 

2  Who  is  it,  that  darkeneth  the  counsels  of  God 


288 


ADDRESS  OF  DEITY  TO  JOB. 


Bj  words  without  knowledge  ? 

3  Gird  up  thy  loins  like  a  man ; 
I  will  ask  thee,  teach  thou  me. 

4  Where  wast  thou, 

When  I  founded  the  earth  ? 
Tell  me,  if  thou  knowest. 

5  Who  fixed  the  measure  of  it?  dost  thou  know? 
Who  stretched  the  line  upon  it? 

6  Whereon  stand  its  deep  foundations? 
Who  laid  the  corner-stone  thereof, 

7  When  the  morning  stars  sang  in  chorus, 
And  all  the  sons  of  God  shouted  for  joy? 

8  Who  wrapped  up  the  sea  in  swaddling-clothes, 
When  it  broke  forth  from  the  mother's  womb? 

9  I  gave  it  the  clouds  for  garments, 
I  swathed  it  in  mists  and  darkness, 

10  I  fixed  my  decrees  upon  it. 

And  placed  them  for  gates  and  bars 

11  I  said.  Thus  far  shalt  thou  come,  and  no  further. 
Here  shalt  thou  dash  thy  stormy  waves. 

12  Hast  thou  in  thy  lifetime  commanded  the  dawn  ? 
And  taught  the  day-spring  to  know  its  place, 

13  That  it  seize  on  the  far  corners  of  the  earth, 
And  scatter  the  robbers  before  it  ? 

14  Like  clay  the  form  of  things  is  changed  by  it, 
They  stand  forth,  as  if  clothed  with  ornament. 

15  From  the  wicked  their  light  is  taken  away. 
Their  haughty  arm  is  broken. 

16  Hast  thou  entered  into  the  caverns  of  the  sea  ? 
Hast  thou  explored  the  hollow  depths  of  the  abyss  ? 

17  Have  the  gates  of  death  opened  for  thee  ? 
And  hast  thou  seen  the  doors  of  non-existence  ? 

18  Is  thy  knowledge  as  broad  as  the  earth  ? 
Show  me,  if  thou  knowest  it  all. 


JOB  XXXYIII.  1-41. 


289 


19  "U^here  dwelletli  tlie  light?  where  is  the  way  to  it? 
And  the  darkness,  where  is  its  place  ? 

20  That  thou  mayest  reach  even  the  limits  thereof, 
For  thou  knowest  the  path  to  its  house, 

21  Thou  knowest,  for  thou  wast  already  born, 
And  the  number  of  thy  days  is  great. 

22  Hast  thou  been  into  the  storehouse  of  the  snow  ? 
And  seen  the  treasury  of  the  hail, 

23  Which  I  have  laid  up  for  the  time  of  need, 
For  the  day  of  war  and  of  slaughter  ? 

2-1  Where  doth  the  light  divide  itself, 

When  the  east  wind  streweth  it  upon  the  earth  ? 

25  Who  divided  the  water-courses  of  heaven? 
And  traced  a  path  for  the  storms  of  thunder  ? 

26  To  bring  rain  upon  lands,  where  no  man  dwelleth, 
Upon  deserts,  which  no  man  inhabiteth, 

27  To  refresh  the  wilderness,  and  the  barren  place. 
And  cause  the  tender  herb  to  spring  forth. 

28  Who  is  the  father  of  the  rain? 

The  drops  of  dew,  who  hath  generated  them? 

29  From  whose  womb  came  forth  the  ice  ? 

The  hoar-frost  of  heaven,  who  gave  it  birth  ? 

80  The  waters  hide  themselves  and  become  as  stone. 
The  surface  of  the  abyss  is  confined  as  in  chains. 

81  Canst  thou  bind  together  the  brilliant  Pleiades? 
Or  canst  thou  loose  the  bands  of  Orion  ? 

32  Canst  thou  bring  the  stars  of  the  Zodiac  in  their  season  ? 
And  lead  forth  the  Bear  with  her  young? 

83  Knowest  thou  the  laws  of  the  heavens  above  ? 
Or  hast  thou  given  a  decree  to  the  earth  beneath? 

84  Canst  thou  lift  up  thy  voice  to  the  clouds. 
And  enter  into  them  clothed  with  floods? 

35  Canst  thou  send  the  lightnings,  that  they  shall  go. 
And  say  to  thee,  "  Here  are  we  ?  " 
13 


290  ADDRESS  OF  DEITY  TO  JOB. 

86  Who  gave  understanding  to  the  fl.ying  clouds? 
Or  intelligence  to  the  meteors  of  the  air? 

37  Who  by  his  wisdom  hath  numbered  the  drops  of  rain  ? 
Ilath  sent  down  the  gentle  showers  from  heaven, 

38  And  watered  the  dust,  that  it  might  unite, 
And  the  clods  of  the  earth  cleave  together  ? 

39  Dost  thou  hunt  for  the  lion  his  prey  ? 

The  hunger  of  the  young  lions  dost  thou  satisfy, 

40  When  they  lie  in  wait  in  their  dens, 
And  couch  under  covert  in  ambush? 

41  Who  provideth  for  the  raven  his  food, 
When  his  young  cry  unto  God, 

And  wander  for  lack  of  meat  ? 

CLOSE  OF  GOD'S  ADDRESS  TO  JOB. 

Job  xxxix.  1-39. 

1  Dost  thou  know  when  the  chamois-goat  brings  forth? 
And  mark  the  birth-throes  of  the  hind  ? 

2  Dost  thoa  number  the  months  they  fulfill. 
And  know  the  period  of  their  bringing  forth  ? 

3  They  bow  themselves,  and  give  birth  to  their  young, 
They  cast  forth  the  offspring  of  their  pains. 

4  Their  young  ones  increase  in  strength  ; 
They  grow  up  in  the  wilderness ; 

They  go  from  them,  and  return  no  more. 

5  AYho  sent  forth  the  wild  ass  free, 

And  broke  from  him  his  slavish  bonds  ? 

6  The  wilderness  have  I  made  an  house  for  him, 
And  the  barren  desert  his  dwelling. 

7  He  scoffs  at  the  uproar  of  the  city ; 
The  cry  of  the  driver,  he  heedeth  it  not. 

8  He  spieth  out  in  the  mountains  his  pasture; 
He  searcheth  after  every  green  thing. 


JOB  XXXIX.  1-39. 


291 


9  "Will  the  buffalo  be  willing  to  serve  tbee, 
And  abide  through  the  night  at  thy  crib? 

10  "Wilt  thou  bind  him  with  his  band  in  the  furrow, 
And  will  he  harrow  the  valleys  after  thee? 

11  Wilt  thou  trust  him  because  he  is  strong, 
And  commit  unto  him  thy  labor  ? 

12  Belie  vest  thou  in  him,  that  he  will  gather  thy  harvest, 
And  that  thy  threshing-floor  shall  be  filled? 

13  A  wing  with  joyous  cry  is  uplifted  yonder ; 
Is  it  the  wing  and  feather  of  the  ostrich  ? 

14:  When  she  commits  her  eggs  to  the  earth, 
And  leaves  them  to  be  warmed  on  the  sand, 

15  She  heeds  it  not,  that  the  foot  may  crush  them, 
And  the  wild  beasts  trample  upon  them. 

16  She  casts  off  her  young  for  none  of  hers ; 
In  vain  is  her  travail,  but  she  regards  it  not ; 

17  For  God  hath  made  her  forgetful  of  wisdom. 
And  hath  not  imparted  to  her  reflection. 

18  At  once  she  is  up,  and  urges  herself  forward. 
She  lauMis  at  the  horse  and  his  rider. 

o 

19  Hast  thou  given  the  horse  his  strength. 
And  clothed  his  neck  with  its  flowing  mane  ? 

20  Dost  thou  make  him  leap  like  the  locust? 
The  pomp  of  his  neighing  is  terrible ; 

21  He  paweth  the  earth  and  joyeth  in  his  strength, 
When  he  goeth  against  the  weapons  of  war. 

22  He  scoffeth  at  fear,  and  is  nothing  daunted, 
And  turneth  not  back  from  facing  the  sword. 

23  Above  him  is  the  rattling  of  the  quiver, 
The  lightning  of  the  spear  and  the  lance. 

24  With  vehemence  and  rage  he  devoureth  the  ground, 
And  believeth  not  that  the  trumpet  is  sounding. 

25  The  trumpet  sounds  louder;  he  cries — aha! 
And  from  afar  he  snuffeth  the  slaughter, 


292 


job's  humility. 


The  war-cry  of  the  captains,  and  tlie  shout  of  battle. 

26  Is  it  by  thy  understanding  that  the  hawk  flieth, 
And  spreadeth  his  wings  to  the  south  wind  ? 

27  Is  it  at  thy  word  that  the  eagle  is  lifted  up, 
And  buildeth  his  nest  on  high  ? 

28  He  inhabiteth  the  rock,  and  all  night  is- there, 
High  upon  the  cliff,  his  rocky  fortress. 

29  From  this  he  spieth  out  his  prey, 
His  eye  searcheth  it  out  from  afar. 

30  His  3'oung  ones  are  greedy  of  blood, 
And  where  the  carcasses  are,  there  is  he. 

Job  listens  to  this  unearthly  eloquence,  and  is  overwhelmed 
with  a  sense  of  his  own  imperfection  and  sinfulness.  He  ab- 
hors himself,  and  repents  in  dust  and  ashes. 

We  should  love  to  dwell  longer  upon  the  poetical  splendor 
of  this  wonderful  oriental  composition  ;  but  it  would  be  con- 
trary to  the  design  of  this  work  to  pursue  the  subject  further. 

There  are  a  few  allusions  to  music  in  the  book. 

Job  xvii.  6 

He  hath  made  me  also  a  byword  of  the  people  : 
And  aforetime  I  was  as  a  tabret. 

This  passage  occurs  in  Job's  answer  to  the  second  part  of  Eli- 
phaz's  address.  The  patriarch  speaks  of  his  present  loathsome, 
afflictive  state,  and  the  contempt  exhibited  towards  him  by  his 
friends.  He  had  become  a  "  byword,"  though  formerly,  accord- 
ing to  our  common  English  version,  he  was  "  as  a  iabret,'^  it  be- 
ing a  figurative  expression,  indicating  that  he  was  formerly  in 
prosperous,  joyful  circumstances. 

^6'  a  tabret. — This  instrument  is  a  s^mibol  of  joy.  The  He- 
brew term,  translated  tabret^  is  topheth,  which,  according 

to  Gesenius  and  other  biblical  critics,  signifies  spittle^  being  de- 
rived from         i]iph^  io  spit  upon^  and  not,  as  the  translators 


JOB  XXI.  11,  12. 


293 


of  our  common  version  supposed,  from  q'jr]  toph.,  a  tohret. 
The  translators  of  the  Septiiagint  did  not  employ  a  musical 
term,  but,  also  mistaking  the  true  meaning  of  the  ^vord,  used 
yeX(x)c  geloivs,  signifying  joy,  mirth.  The  idea,  no  doubt, 
which  the  patriarch  wished  to  convey  by  ^^Jr^  topheth^  was, 
that  derision  was  then  heaped  upon  him  by  his  pretended 
friends,  gelows  signifying  joy.  We  have  already  shown 
that  the  trial  of  Job  occurred,  according  to  Dr.  Hales,  2337 
years  B.  C,  (2130  according  to  the  usual  computation),  818 
years  after  the  deluge,  184  before  the  birth  of  Abraham,  and 
689  after  the  exodus  from  Egypt,  or  about  532  years  after 
music  is  known  to  have  been  cultivated  in  Egypt  (vid.  pp.  56,  60, 
supra),  and  that  was  about  1850  years  after  Jubal's  music. 

Job  xxi.  11,  12. 

11  They  send  forth  their  little  ones  like  a  flock, 
And  their  children  dance. 

12  They  take  the  timbrel  and  harp, 

And  rejoice  at  the  sound  of  the  organ. 

These  verses  occur  in  Job's  answer  to  Zophar,  in  which  he 
strongly  reproves  his  miserable  comforters.  He  describes  the 
wicked  in  a  clear  and  vivid  manner,  plainly  intimating  that  his 
pretended  friends  were  among  their  number.  He  shows  that  the 
prosperity  of  the  ungodly  continues  only  for  a  time. 

Their  children  dance. — This  indicates  rejoicing.  The  terra 
translated  dance,  is  'J^lj^'l"'  y^raqqedhun,  from  the  verb  ^p*| 

raqadh,  to  leap,  to  skip,  to  dance.  The  term  in  the  Septuagint 
signifies  to  play  like  a  child. 

In  verse  12,  we  have  three  instruments  mentioned,  viz  :  the 
timbrel,  harp,  and  organ.  The  first  is  a  percussion  instrument, 
the  Hebrew  term  being  toph.  The  same  word  is  used  in 
Gen.  xxxi.  27,  and  translated  tabret,  which  indicates  the  same 
instrument  as  timbrel  (vid.  Rem.  on  that  passage,  supra).  The 
Septuagint  has  tpaXrripLov  psalterion,  psaltery,  which  is  a 


294 


ORIENTAL  MUSIC. 


stringed  instrument.  The  LXX  must  have  been  mistaken,  as 
the  Hebrew  term  clearly  indicates  a  porcussion  instrument. 

Harp. — This  is  the  Idnnor  to  which  reference  is  made  in 
Gen.  iv.  21. 

Organ. — This  is  the  vgabh  found  also  in  Gen.  iv.  21.  The 
Septuagint  has,  for  the  last  two  terms,  Kt^apav  kitharan,  citha- 
ra,  and  ipaXfjiov  psalmou,  psalm,  or  song.  Sometimes  the 
LXX  use  psalterion  for  kliinor  (vid.  Rem.  on  Gen.  iv.  21, 
siq^ra).  Evidently,  the  Alexandrine  translators  did  not  have 
correct  ideas  in  respect  to  those  ancient  instruments,  and  per- 
haps scholars  at  the  present  day  are  too  confident  in  reference 
to  their  knowledge  in  these  matters.  Here  we  perceive  that 
one  of  each  kind  of  the  three  grand  classes  is  mentioned,  viz  : 
percussion,  stringed,  and  wind  instruments. 


The  blessing  of  bim  that  was  ready  to  perisb  came 
upon  me : 

And  I  caused  tbe  widow's  beart  to  sing  for  joy. 

This  is  a  part  of  the  answer  of  Job  to  Bildad  the  Shuhite, 
in  justification  of  his  conduct.  He  shows  that  he  assisted  the 
poor,  the  fatherless,  and  the  widow. 

To  sing. — The  original  is  'l!]*!^  arnin,  I  caused  io  sing,  the 

Hiphil  conjugation  of        ranan.    In  the  Septuagint  there  is 


no  allusion  to  singing,  but  it  is  merely  an  expression  indicating 
joy  on  the  part  of  the  widow. 


Job  xxix.  13. 


JOB  XXXVIII.  7. 


295 


These  passages  occur  in  Job's  eloquent  reply  to  Bildad. 
He  complains  that  those  who  were  much  younger  than  him- 
self, and  whose  fathers  he  would  disdain  to  place  with  the  dogs 
of  his  flock,  reproach  him,  and  make  him  their  son/j.  The 
original,  nriD^jD  u^^ginatham^  their  song  (v.  9),  signifies  music 

T  T    •  : 

of  stringed  instriunents^  and  may  mean  song^  in  derision,  as  it 
does  here.  The  LXX  translate  it  thus  :  /  ain  their  cithara. 
The  meaning,  however,  is  the  same. 

In  the  31st  verse.  Job  appears  to  speak,  in  a  figurative  man- 
ner, of  his  harp  and  organ.  He  wished  to  express  the  sad 
idea  that  his  joy  was  turned  into  mourning  and  weeping;  still 
the  fact  that  he  used  the  names  of  those  instruments,  shows 
that  he  was  acquainted  with  them,  and  that  in  all  probability 
he  performed  upon  thera  before  the  dreadful  trial  which  he 
was  then  enduring.  The  same  terms  in  the  original  are  em- 
ployed which  occur  in  Job.  xxi.  12,  also  in  Gen.  iv.  21.  The 
instruments  are  the  kianor  and  \igohh. 

Job  xxxviii.  7. 

When  the  morning  stars  sang  together, 
And  all  the  sons  of  God  shouted  for  joy  ? 

This  language  occurs  in  the  sublime  address  of  the  Almighty 
to  his  servant  Job.  In  recounting  the  wonders  of  creation,  Je- 
hovah refers  to  the  time  when  he  laid  the  foundations  of  the 
earth — when  the  mighty  forces  of  the  material  universe  were 
ushered  into  being — when  suns,  planets,  and  satellites  were 
hurled  into  their  splendid  orbits.  In  celebration  of  that  event, 
the  choirs  of  heaven  raised  their  paean  of  praise  to  the  Great 
Creator. 

The  morning  stars  sang  together. — These,  it  is  thought,  could 
not  have  been  men,  as  it  is  generally  admitted  that  this  language 
refers  to  a  period  anterior  to  the  creation  of  Adam.  They  are 
supposed  to  have  been  angels.    Sons  of  God,  in  the  same  verse 


296 


MUSIC  OF  THE  ANGELS. 


are  thought  to  refer  to  the  same  holy  beings.  But  would  it  not 
be  more  natural  to  suppose  that  there  is  a  difference  of  signifi- 
cation in  the  two  phrases  ?  The  first,  morning  stars,  may  indi- 
cate the  thousand  voices  of  nature.  The  stars  and  the  whole 
material  universe  raised  their  notes  of  praise,  and  then,  in  unison 
with  this  choir,  were  that  of  the  sons  of  God — the  angels  burn- 
ing around  the  throne.  These  last  may  represent  the  universe 
of  created  intelligent  existences  at  that  remote  period.  This  is, 
of  course,  the  language  of  elevated  oriental  poetry,  and  highly 
figurative  ;  but  not  more  so  than  some  of  the  Psalms  of  Da- 
vid, in  which  inanimate  nature  is  represented  as  praising  God. 
At  the  celebration  of  so  grand  an  event,  certainly  it  would 
seem  admissible,  if  under  any  circumstances,  to  personify  na- 
ture, and  represent  her  as  breaking  forth  in  songs  of  praise. 
Sang. — The  original  word  is  a  derivative  of  l^-j  ranan^  sig- 

nifying  a  tremulous,  creaking  sound,  as  of  a  pole  in  the  wind' 
also  a  roaring  sound,  as  of  a  torrent. 

Shouted  for  joij. — This  is  a  figurative  expression,  of  similar 
import  to  the  one  which  we  have  just  considered. 

Job  xxxix.  24,  25. 

24.  He  swallowetb  the  ground  with  fierceness  and  rage ; 
Neither  believeth  be  that  it  is  the  sound  of  the  trum- 
pet. 

25  He  saitb  among  the  trumpets,  Ha,  ba ! 
And  he  smelleth  the  battle  afar  off, 
The  thunder  of  the  captains,  and  the  shouting. 

These  verses  also  occur  in  the  memorable  address  of  Deity 
to  Job,  and  refer  to  the  fierceness  and  fury  of  the  war-horse. 

Trumpet,  trumpets. — These  are  the  shophars  (vid.  Rem.  on 
5  ;  Ex.  xix.  16,  where  reference  is  made  to  the  sameJosh.  vi. 
instruments). 


BOOK  OF  PSALMS. 


297 


THE  BOOK  OF  PSALMS. 

INTRODUCTORY  REMARKS. 

We  come  now  to  the  lays  of  the  sweet  singer  of  Israel, 
who  chanted  upon  his  harp  those  joyous  or  mournful 
strains  of  music,  which  indicated  the  depression  or  eleva- 
tion of  his  spirit  while  contemplating  the  prosperous  or 
adverse  circumstances  of  his  country,  the  advancement 
or  declension  of  true  piety  among  that  people  who  once 
hung  their  harps  upon  the  willows  in  a  strange  land. 

The  Psalms  have  been  admired  by  Christians  in  all  ages, 
as  affording  consolation  in  every  event  of  life,  and  as  val- 
uable helps  to  devotion.  Among  the  Fathers,  Basil  con- 
sidered them  as  a  compendium  of  all  theology,  and  Atha- 
nasius,  as  an  epitome  of  the  entire  sacred  volume.  Among 
the  Reformers,  Melancthon  declared  that  they  were  the 
most  elegant  writings  in  the  whole  world,  and  Luther 
called  them  a  little  Bible,  the  summary  of  the  old  Testa- 
ment. Prefixed  to  the  Reformers'  Bible  is  the  following 
just  and  beautiful  tribute  to  the  Psalms : 

"  The  book  of  Psalms  is  set  forth  unto  us  by  the  Holy 
Ghost,  to  be  esteemed  as  a  most  precious  treasure  ;  where- 
in all  things  are  contained  that  appertain  to  true  felicity, 
as  well  in  this  present  life  as  in  the  life  to  come  :  for  the 
riches  of  true  knowledge  and  heavenly  wisdom  are  set 
open  for  us,  to  take  thereof  most  abundantly.  If  we 
would  know  the  great  and  high  Majesty  of  God,  here  we 
may  see  the  brightness  thereof  shine  most  clearly.  If  we 
would  seek  this  incomprehensible  wisdom,  here  is  the 
school  of  the  same  profession.    If  we  would  comprehend 


298 


BEAUTIES  OF  THE  PSALMS. 


his  inestimable  bounty,  and  approach  near  thereunto,  and 
fill  our  hands  with  that  treasure,  here  we  may  have  a  most 
lively  and  comfortable  taste  thereof.  If  we  would  know 
wherein  standeth  our  salvation,  and  how  to  attain  to  life 
everlasting,  here  is  Christ,  our  only  Eedeemer  and  Media- 
tor, most  evidently  described.  The  rich  man  may  learn 
the  true  use  of  riches :  the  poor  man  may  find  full  con- 
tentment. He  that  will  rejoice  shall  know  the  true  joy, 
and  how  to  keep  measure  therein.  They  that  are  afflicted 
and  oppressed,  shall  see  wherein  standeth  their  comfort, 
and  how  they  ought  to  praise  God  when  he  sendeth  them 
deliverance.  The  wicked,  and  the  persecutors  of  the  chil- 
dren of  God,  shall  see  how  the  hand  of  God  is  ever  against 
them  ;  and  though  he  suffer  them  to  prosper  for  a  while, 
yet  he  bridleth  them,  insomuch  that  they  cannot  touch  a 
hair  of  one's  head,  except  he  permit  them ;  and  how  in 
the  end  their  destruction  is  most  miserable.  Briefly,  here 
we  may  have  present  remedies  against  all  temptations,  and 
troubles  of  mind  and  conscience  ;  so  that,  being  well  prac- 
tised herein,  we  may  be  assured  against  all  dangers  in 
this  life,  live  in  the  true  fear  and  love  of  God,  and  at 
length  attain  to  that  incorruptible  crown  of  glory,  which 
is  laid  up  for  all  them  that  love  the  coming  of  our  Lord 
Jesus  Christ." 

This  book,  in  Hebrew,  is  entitled,  Book  of  Hymns  or 
Praises^  in  the  Septuagint,  simply  Psalms^  and  in  the 
Syriac,  Booh  of  Psalms  of  David^  the  King  and  Prophet, 
Origen,  Chrysostom,  Ambrose,  and  other  ancient  Fathers, 
believed  that  David  was  the  sole  author  of  that  composi- 
tion ;  but  a  careful  perusal  of  it  will  show  that  it  was 
written  by  various  persons,  some  earlier  and  some  later 
than  the  time  of  David.  The  great  Hebrew  poet  reduced 
the  Jewish  service  relating  to  music  to  a  regular  system, 
and  was  an  excellent  composer  as  well  as  performer  in  the 


POETRY  OF  THE  PSALMS. 


299 


art.  He  received  the  divine  approval  in  appointing  a 
select  company  of  singers  to  celebrate  the  praises  of  God 
in  the  tabernacle. 

This  book  contains  every  variety  of  Hebrew  poetry. 
We  find  in  it  elegiac,  historical,  moral,  and  lyric  verse. 
Indeed,  it  may  all  be  considered  as  lyric  poetry,  since  it  is 
adapted  to  music,  but  it  is  extremely  varied  in  style,  ex- 
tending from  the  dignified  ode,  with  its  ornate  beauty,  to 
the  grave  ethical  or  simple  didactic  rhythm.  De  Wette, 
in  his  admirable  Einleitung  in  die  Psahnen^  remarks : 
"  They  are  lyric  in  the  proper  sense  ;  for  among  the  He- 
brews, as  among  the  ancients  generally,  poetrj^,  singing, 
and  music  were  united,  and  the  inscriptions  to  most  of  the 
Psalms  determine  their  connection  with  music,  though  in 
a  way  not  always  intelligible  to  us.  Also,  as  works  of 
taste  these  compositions  deserve  to  be  called  h'ric.  The 
essence  of  lyric  poetry  is  the  immediate  expression  of 
feeling ;  and  feeling  is  the  sphere  in  which  most  of  the 
Psalms  move.  Pain,  grief,  fear,  hope,  joy,  trust,  gratitude, 
submission  to  God,  everything  that  moves  and  elevates 
the  heart,  is  expressed  in  these  songs.  Most  of  them  are 
the  lively  effusions  of  the  excited  susceptible  heart,  the 
fresh  offspring  of  inspiration  and  elevation  of  thought ; 
while  only  a  few  are  spiritless  imitations  and  compilations, 
or  unpoetic  forms  of  prayer,  temple  hymns,  and  collec- 
tions of  proverbs." 

We  find  occasional  pastoral  idyls  and  enigmatical  poems ; 
but  a  kind  of  dramatic  ode  in  the  form  of  a  dialogue,  is 
most  prevalent.  Bishop  Horseley  remarks :  "  The  persons 
are  frequently  the  psalmist  himself,  or  the  chorus  of  priests 
and  Levites,  or  the  leader  of  the  Levitical  band,  opening 
the  ode  with  a  proem  declarative  of  the  subject,  and  very 
often  closing  the  whole  with  a  solemn  admonition  drawn 
from  what  the  other  persons  say.    The  other  persons  are, 


300 


AUTHORS  OF  THE  PSALMS. 


Jehovah,  sometimes  as  one,  sometimes  as  another  of  the 
three  persons  ;  Christ  in  his  incarnate  state,  sometimes  be- 
fore, sometimes  after  his  resurrection  ;  the  human  soul  of 
Christ,  as  distinguished  from  the  divine  essence.  Christ, 
in  his  incarnate  state,  is  personated  sometimes  as  a  priest, 
sometimes  as  a  king,  sometimes  as  a  conqueror ;  and  in 
those  psalms  in  which  he  is  introduced  as  a  conqueror,  the 
resemblance  is  very  remarkable  between  this  conqueror 
in  the  book  of  Psalms,  and  the  wanior  on  the  white  horse 
in  the  book  of  Eevelations,  who  goes  forth  with  a  crown 
on  his  head  and  a  bow  in  his  hand,  conquering  and  to 
conquer.  And  the  conquest  in  the  Psalms  is  followed, 
like  the  conquest  in  the  Revelations,  by  the  marriage  of 
the  conqueror.  These  are  circumstances  of  similitude, 
which,  to  any  one  versed  in  the  prophetic  style,  prove  be- 
yond a  doubt  that  the  mystical  conqueror  is  the  same  per- 
sonage in  both." — (Horseley's  Psalms,  vol.  1,  p.  16). 

The  authors  of  this  book,  as  we  have  already  intimated, 
are  various,  and  lived  at  different  periods,  embracing 
about  nine  hundred  years.  Jewish  writers  suppose  that 
there  were  ten  authors,  viz:  Adam,  Melchisedec,  Abra- 
ham (whom  they  call  Ethan),  Moses,  Asaph,  Heman,  Je- 
duthun,  and  the  three  sons  of  Korah.  They  strangely 
exclude  David,  and  assert  that  he  merely  collected  them 
into  one  book.  But  this  opinion  is  alike  contrary  to  scrip- 
ture and  fact.  It  will  be  found  that,  in  all  probability,  the 
Psalms  were  composed  by  Moses,  David,  Solomon,  Asaph, 
Heman,  Ethan,  Jeduthun,  and  the  three  sons  of  Korah. 
This  opinion  is  generally  maintained  by  modern  biblical 
critics.  We  shall  mention  the  authors  of  individual 
psalms  as  we  consider  them  separately. 

It  is  difficult  to  determine  with  certainty  who  collected 
these  poems  into  one  book,  and  when  the  compilation  was 
made.    David,  undoubtedly,  in  his  time  collected  many 


MUSIC  OF  THE  PSALMS. 


301 


of  them  ;  but,  from  an  examination  of  their  contents,  it 
seems  quite  evident  that  the  book  of  Psalms  was  compiled  * 
by  various  persons  at  different  times.  Psalm  cxxvi  was 
obviously  composed  while  the  second  temple  was  being 
built,  so  that  the  collection  must  have  been  made  before 
that  time.  In  very  ancient  versions,  like  the  Syriac,  the 
collection  is  divided  into  five  books,  to  correspond,  it  is 
thought,  with  the  Pentateuch.  This  division  is  proved  to 
have  been  in  existence  before  the  Septuagint  Greek  ver- 
sion was  made,  and  certainl}?-  existed  more  than  200  years 
before  the  Christian  era.  The  first  book  extended  from 
Psalm  i,  to  xli. ;  the  second  from  Psalm  xlii.  to  Ixxii. ; 
the  third  from  Psalm  Ixxiii.  to  Ixxxix. ;  the  fourth  from 
xc.  to  cvi. ;  and  the  fifth  from  cvii.  to  cl.  It  is  generally 
believed  that  Ezra  formed  the  different  collections  into  one 
volume  at  the  time  that  the  Jewish  canon  of  scripture  was 
completed.  Ewald  (Poetic  Books  ii.  205)  remarks  that  it 
must  have  been  as  early  as  450  B.  C.  The  number  of 
psalms  admitted  into  the  canon,  was  one  hundred  and 
fifty.  Another,  however,  describing  the  combat  of  David 
with  Goliath,  appears  in  the  Septuagint  version,  also  in 
the  Syriac,  Arabic,  and  ^thiopic  translations.  But  it  is 
not  found  in  the  Hebrew,  has  always  been  rejected  by  the 
Fathers,  and  is  evidently  spurious,  though  very  ancient. 

Various  instruments  of  music  are  mentioned  in  the 
book,  which  Herder  (vid.  Herder's  Heb.  Poet,  by  Marsh, 
vol.  ii.  p.  265)  divides  into  ruling  and  accompanying  ones. 
The  latter  are  the  common  instruments,  and  do  not  appear 
in  any  superscriptions  of  the  Psalms.  There  are  many 
grand  choruses  represented  in  this  book,  which  were  per- 
formed by  multitudes,  and  generally  accompanied  by  the 
more  common  instruments,  such  as  flutes,  castanets,  the 
adufa,  and  different  kinds  of  trumpets. 

There  is  not  that  boldness  in  the  poetry  and  music  of 


802 


CLASSIFICATIOISr. 


the  Psalms  which  is  found  in  more  ancient  compositions 
The  lyric  poetry  of  the  Hebrews  was  much  refined,  and 
the  music  elevated  and  improved,  under  the  influence  of 
David.  At  the  same  time,  it  lost  some  of  that  native 
originality  and  pathetic  grandeur  which  it  possessed  in 
the  times  of  Moses  and  Deborah.  The  highly  figurative 
language  of  ancient  poetry,  possessed,  nnder  David,  less 
natural  vigor,  freshness,  and  energy,  but  was  more  pol- 
ished and  scientific.  The  poetry  and  music  of  David  and 
Solomon  were  tame  compared  with  the  same  in  the  hands 
of  the  ancient  prophets.  The  real  difference  was,  that 
David's  seers  were  not  natural  but  artificial  poets,  while 
the  old  prophets  were  the  Homers  and  Miltons  of  the  age 
in  which  they  lived.  They  could  thunder,  lighten,  raise 
tempests,  shake  the  earth,  and  cause  all  nature  to  quake 
in  terror.  But  David's  seers  move  in  a  humbler  sphere, 
though  there  are  some  exceedingly  fine  touches  in  the 
sweet  singer's  beautiful  la3'S.  In  some  of  the  Psalms,  in- 
deed, we  find  most  admirable  specimens  of  the  morally 
sublime.  Some  of  them,  which  we  shall  examine  indi- 
vidually, are  far  more  ancient  than  others,  and  represent 
different  periods  of  Hebrew  poetry. 

The  Psalms  may  be  classed  under  the  following 
divisions : 

I.  Prayers. 

1.  Prayers  for  pardon  of  sin,  Psal.  vi.  xxv.  xxxviii.  li. 
cxxx.  Psalms  styled  penitential,  vi.  xxii.  xxxviii.  li.  cii. 
cxxx.  cxliii. 

2.  Prayers,  composed  when  the  Psalmist  was  deprived 
of  an  opportunity  of  the  public  exercise  of  religion,  Psal. 
xlii.  xliii.  Ixiii.  Ixxxiv. 

3.  Prayers,  in  which  the  Psalmist  seems  extremely  de- 
jected, though  not  totally  deprived  of  consolation,  under 


CLASSIFICATION". 


803 


his  afflictions,  Psal.  xiii.  xxii.  Ixix.  Ixxvii.  Ixxxviii. 
cxliii. 

4.  Prayers,  in  which  the  Psalmist  asks  help  of  God,  in 
consideration  of  his  own  integrity,  and  the  uprightness  of 
his  cause,  Psal.  vii.  xvii.  xxvi.  xxxv. 

5.  Prayers,  expressing  the  firmest  trust  and  confidence 
in  Grod  under  afflictions,  Psal.  iii.  xvi.  xxvii.  xxxi.  liv. 
Ivi.  Ivii.  Ixi.  Ixii.  Ixxi.  Ixxxvi. 

6.  Prayers,  composed  when  the  people  of  God  were 
under  affliction  or  persecution,  Psal.  xliv.  Ix.  Ixxiv.  Ixxix. 
Ixxx.  Ixxxiii.  Ixxxix.  xciv.  cii.  cxxiii.  cxxxvii. 

7.  The  following  are  likewise  prayers  in  time  of  trouble 
and  affliction,  Psal.  iv.  v.  xi.  xxviii.  xli.  Iv.  lix.  Ixiv.  Ixx 
cix.  cxx.  cxl.  cxli.  cxliii. 

8.  Prayers  of  intercession,  Psal.  xx.  Ixvii.  cxxii.  cxxxii. 
cxliv. 

11.  Psalms  of  Thanksgiving. 

1.  Thanksgivings  for  mercies  vouchsafed  to  particular 
persons,  Psal.  ix.  xviii.  xxii.  xxx.  xxxiv.  xl.  Ixxv.  ciii. 
cviii.  cxvi.  cxviii.  cxxxviii.  cxliv. 

2.  Thanksgivings  for  mercies  vouchsafed  to  the  Is- 
raelites in  general,  Psal.  xlvi.  xlvii.  Ixv.  Ixvi.  Ixviii.  Ixvi. 
Ixxxi.  Ixxxv.  xcviii.  cv.  cxxiv.  cxxvi.  cxxix.  cxxxv. 
exxxvi.  cxlix. 

III.  Psalms  of  Praise  and  Adoration^  displaying  the 
Attrihutes  of  God. 

1.  General  acknowledgments  of  God's  goodness  and 
mercy,  and  particularly  his  care  and  protection  of  good 
men,  Psal.  xxiii.  xxiv.  xxxvi.  xci.  c.  ciii.  cvii.  cxvii.  cxxi. 
cxlv.  cxlvi. 

2.  Psalms  displaying  the  power,  majesty,  glory,  and 
other  attributes  of  the  Divine  Being,  Psal.  viii.  xix.  xxiv. 
xxix.  xxxiii.  xlvii.  1.  Ixv.  Ixvi.  Ixxvi.  Ixxvii.  xciii.  xcv. 


804 


CLASSIFICATION. 


xcvi.  xcvii.  xcix.  civ.  cxi.  cxiii.  cxiv.  cxv.  cxxxiv. 
cxxxix.  cxlvii.  cxlviii.  cl. 

lY.  Instructive  Psalms. 

1.  The  different  characters  of  good  and  bad  men, — the 
happiness  of  the  one,  and  the  misery  of  the  other, — are 
represented  in  the  following  psalms : — i.  v.  vii.  ix.  x.  xi. 
xii.  xiv.  XV.  xvii.  xxiv.  xxv.  xxxii.  xxxiv.  xxxvi. 
xxxvii.  1.  lii.  liii.  Iviii.  Ixxii.  Ixxv.  Ixxxiv.  xci.  xcii.  xciv. 
cxii.  cxix.  cxvi.  cxxv.  cxxvii.  cxxviii.  cxxxiii. 

2.  The  excellence  of  God's  laws,  Psal.  xix.  cxix. 

8.  The  vanity  of  human  life,  Psal.  xxxix.  xlix.  xc. 

4.  Advice  to  magistrates,  Psal.  Ixxxii.  ci. 

5.  The  virtue  of  humility,  Psal.  cxxxi.  ' 

Y.  Psalms  m.ore  eminently  and  directly  Projphetical. 

Psal.  ii.  xvi.  xxii.  xl.  xlv.  Ixviii.  Ixxii.  Ixxxvii.  ex. 
cxviii. 

YI.  Historical  Psalms. 
Psal.  Ixxviii.  cv.  cvi. 

(Yid.  Home's  Intro.  P.  v.,  c.  iii.,  Sec.  ii.  xi). 

Psalm  i.  1-6. 

1  Blessed  is  the  man. 

That  walketh  not  in  the  counsels  of  the  ungodly, 
Nor  standeth  in  the  way  of  sinners, 
ISTor  sitteth  in  the  seat  of  the  scornfal : 

2  But  his  delight  is  in  the  law  of  the  Lord ; 
And  in  his  law  does  he  meditate  day  and  night. 

3  And  he  shall  be  like  a  tree  planted  by  the  rivers  of 

water. 

That  bringeth  forth  his  fruit  in  his  season ; 


PSALM  I.  1-6. 


305 


His  leaf  also  shall  not  wither ; 

And  whatsoever  be  doeth  shall  prosper. 

4  The  ungodly  are  not  so : 

But  are  like  the  chaff  which  the  wind  driveth  away. 

5  Therefore  the  ungodly  shall  not  stand  in  the  judgment, 
Nor  sinners  in  the  congregation  of  the  righteous. 

6  For  the  Lord  knoweth  the  way  of  the  righteous : 
But  the  way  of  the  ungodly  shall  perish. 

This  psal  m  is  evidently  a  kind  of  preface  to  the  hook,  giving 
an  admirable  view  of  the  truly  happy  man,  both  in  this  life 
and  in  that  which  is  to  come.  The  description  is  brief,  but 
clear,  vivid,  and  comprehensive.  The  poem  contains  a  compen- 
dium of  the  doctrines  inculcated  in  the  book  of  Psalms.  It  is 
supposed  to  have  been  written  about  444  years  B.  C,  but  its 
date  is  somewhat  uncertain.  From  the  fact  that  it  is  intimately 
connected  with  the  second  psalm,  and  corresponds  very  nearly 
with  it  in  style,  we  conclude  that  it  must  have  been  composed 
by  the  same  person  who  wrote  that,  the  author  of  which  we 
know  to  have  been  David.  Some  suppose  that  Ezra  composed 
it  when  he  completed  the  collection ;  but  this  opinion  is  obvi- 
ously incorrect.  The  poetry  is  not  of  the  most  elevated  kind, 
and  can  only  be  distinguished  by  its  lively  figures,  from  ornate 
prose.  Bishop  Jebb  gives  this  psalm  as  an  example  of  Parallel 
lines  gradadonal,  or  those  in  which  some  clauses  are  responsive 
to  others,  and  rise  above  them  in  a  regular  gradation.  The 
first  line  is  nn  exclamation  which  belongs  equally  to  each  of  the 
three  foli<»u  ing  :  In  the  triplet,  not  only  does  the  general  sense 
of  each  successive  line  rise  by  a  regular  gradation  above  the 
preceding  one.  but  each  is  divided  into  three  members,  and  the 
sense  of  '-ach  successive  member  rises  above  the  preceding  one. 
This  is  tlk-  most  common  kind  of  parallelism,  and  sometimes 
the  gradation  is  by  a  descending  scale.  "To  walkj''  says  Jebb, 
"  implies  no  more  than  casual  intercourse ;  to  stand,  closer  inti- 
macy ;  to  .s//,  fixed  and  permanent  connection  ;  the  counsel,  the 
ordinary  place  of  meeting,  or  public  resort ;  the  way,  the  select 


806 


MUSIC  OF  THE  PSALMS. 


and  chosen  foot-path;  the  seot^  the  habitual  and  final  resting- 
place  ;  the  ungodly^  negatively  wicked ;  sinners,  positively 
wicked ;  the  scornf  ul,  scoffers  at  the  very  name  or  notion  of 
piety  and  goodness  (vid.  Jebb's  Sacred  Literature,  p.  41). 
There  is  no  allusion  to  music  or  musical  instruments  in  the 
poem. 

Psalm  ii.  1-12. 

1  What  tumult  reigns  among  the  nations ! 
Why  do  they  clamor  with  empty  noise? 

2  The  kings  of  the  earth  rise  up, 
The  princes  build  projects  together 
Against  Jehovah  and  his  anointed. 

3  "  Let  us  break  their  bands  asunder,  . 
And  cast  away  their  fetters  from  us." 

4  He,  that  is  throned  in  heaven,  shall  laugh, 
Jehovah  holdeth  them  in  derision. 

5  He  speaketh  to  them  in  his  wrath, 
And  scattereth  them  in  his  fierce  anger. 

6  "I  have  set  my  king  upon  my  throne, 
Upon  my  holy  mountain  Zion." 

7  I  will  also  declare  the  divine  decree, 
Jehovah  said  unto  me, 

"  Thou  art  my  son, 

So  be  it  from  this  day  forth." 

8  Ask  of  me. 

And  nations  shall  be  thine  inheritance, 

The  utmost  parts  of  the  earth  thy  possession. 

9  Thou  shalt  smite  them  with  an  iron  sceptre, 
And  dash  them  as  a  potter's  vessel. 

10  Be  wise  now,  therefore,  O  ye  kings, 
Be  instructed,  ye  judges  of  the  earth. 

11  Obey  Jehovah  with  fear, 

And  honor  him  with  trembling, 


PSALM  II.  1-12. 


307 


12  Do  homage  to  the  son,  lest  he  be  angry, 
And  bring  destruction  on  you  by  the  way, 
For  soon  his  wrath  wiJl  be  kindled, 
And  happy  they,  who  are  faithful  to  him. 

The  above  is  the  translation  of  Herder.  This  psalm,  like  Ps. 
i.,  is  anonymous,  though,  as  we  have  already  intimated,  it  was 
evidently  composed  by  David,  the  imagery  being  clearly  taken 
from  the  warlike  times  of  that  Hebrew  monarch,  and  closely 
resembling  several  of  the  following  psalms  bearing  his  name : 
Luke  (vid.  Acts  iv.  25)  ascribes  it  to  him.  It  is  supposed  to 
have  been  written  about  1044  B.  C.  Herder  calls  it  a  royal 
psalm,  the  crown  of  the  book  (vid.  Herder's  Heb.  Poetry,  trans- 
lated by  Marsh,  vol.  ii.,  p.  264).  This  is  the  first  prophetic 
psalm  in  which  the  promise  made  to  David  in  respect  to  the 
Messiah  is  presented  in  lyric  poetry.  The  style  is  rather  more 
lively  than  that  of  the  first  psalm.  "  Among  the  perfect  speci- 
mens," says  Herder,  "  which  have  not  only  variety  and  contrast, 
but  a  progressive  lyric  action,  I  venture  to  name  the  Second 
Psalm  (Ibid  vol  ii.,  p.  233). 

The  poet  presents  a  striking  view  of  the  nations  who  had  re- 
nounced their  allegiance  to  Jehovah ;  but  a  glance  from  the 
Eternal,  as  he  sits  upon  his  throne,  or  a  smile  of  derision,  blasts 
all  of  their  most  lofty  anticipations.  God  speaks  to  them  in 
thunder,  and  scatters  them  with  his  lightnings.  The  psalm  con- 
sists of  four  strophes  or  stanzas,  of  three  verses  each.  The 
conduct  of  the  wicked  nations  is  described  in  the  firnt  (includ- 
ing the  first  three  verses).  The  second  (including  verses  4,  5, 
and  6),  contains  the  reply  of  Deity.  The  third  (including  ver- 
ser  7,  8,  and  9),  contains  the  declaration  of  the  Messiah  regard- 
ing the  divine  decree  in  respect  to  himself  In  the  fourth  (in- 
cluding verses  10,  11,  and  12),  earthly  potentates  are  exhorted 
to  submission,  and,  in  case  of  refusal,  the  threatenings  of  divine 
wrath  are  denounced  against  them.  The  parallelisms  are  reg- 
ular, and  the  number  of  verses  and  stanzas  is  just  double  that 
of  the  first  psalm.    There  are  in  it  no  allusions  to  music. 


308 


FIRST  POETRY  OF  DAYID. 


Psalm  iii.  1-8. 

A  Psalm  of  David  when  he  fied  from  Absalom^  his  son. 

1  Lord,  how  are  they  increased  that  trouble  me  ! 
Many  are  they  that  rise  up  against  me. 

2  Many  there  he  which  say  of  my  soul, 

There  is  no  help  for  him  in  God.  Selah. 

3  But  thou,  0  Lord,  art  a  shield  for  me ; 
My  glory,  and  the  lifter  up  of  mine  head. 

4  I  cried  unto  the  Lord  with  my  voice, 

And  he  heard  me  out  of  his  holy  hill.  Selah. 

5  I  laid  me  down  and  slept ; 

I  awaked:  for  the  Lord  sustained  me, 

6  I  will  no|;  be  afraid  of  ten  thousands  of  people 
That  have  set  themselves  against  me  round  about. 

7  Arise,  O  Lord ;  save  me,  O  my  God  ! 

For  thou  hast  smitten  all  mine  enemies  upon,  the  cheek- 
bone ; 

Thou  hast  broken  the  teeth  of  the  ungodly. 

8  Salvation  helongeih  unto  the  Lord  ; 

Thy  blessing  is  upon  thy  people.  Selah. 

This  psalm  contains  an  energetic  description  of  the  numerous 
foes  and  dangers  that  encompassed  the  wTiter.  Yet  he  confided 
in  his  Heavenly  Father  to  deliver  him,  as  he  had  done  on  for- 
mer occasions.  This  was  probably  among  the  first  poetic  effu- 
sions from  David's  pen.  It  is  merely  called  mizrabr 
meaning  Psalm^^  and  seems  to  have  been  composed  after  David 
had  been  driven  from  Jerusalem  by  Absalom,  about  1023  B.C. 
It  consists  of  four  double  verses,  exclusive  of  the  title.  There 
has  been  much  controversy  among  scholars   in  respect  to 

*  There  are  45  psalms  called  mizmor,  viz  :  3,  4,  5,  6,  8,  9,  12, 13,  15,  19,  20, 
21,  22,  23,  24,  29,  31,  38,  39,  40,  41,  47,  49,  50,  51,  62,  63,  64,  73,  75,  77,  79  80, 
82,  84,  85,  98,  100,  101  109,  110,  139,  140,  141,  143. 


PSALM  III.  1-8. 


309 


the  question,  whether  the  titles  to  the  psalms  are  of  equal  au- 
thority with  the  other  parts  of  the  book.  The  ancient  critics 
generally  admit  them  to  be  genuine  ;  but  most  modern  critics 
either  reject  them  as  not  canonical,  entirely  or  in  pari.  The 
titles  are  obviously  very  ancient,  as  they  are  found  in  the  Sep- 
tuagint ;  and  it  is  probable  that  they  are  older  even  than  that 
version,  as  the  LXX  in  many  cases  have  transferred  the  He- 
brew words,  not  being  able  to  translate  them,  and  when  they 
have  attempted  a  translation  it  is  in  some  cases  entirely  unin- 
telligible. This,  however,  may  have  been  owing  to  the  fact 
that  the  translators  resided  in  Egypt,  and  were  unacquainted 
with  the  psalmody  of  the  temple  service  at  Jerusalem.  From 
the  fact  that  these  appendages  are  found  m  the  Septuagint,  they 
must  be  as  ancient  as  the  time  of  Ezra.  All  critics  agree  that 
they  are  very  obscure.  Several  of  them  do  not  appear  in  the 
original  Hebrew,  having  been  added  in  the  Septuagint  and  other 
Greek  versions.  Many  of  them  are  probably  conjectural 
additions,  made  by  the  collectors  of  the  psalms  at  different 
periods,  and  some,  no  doubt,  are  of  equal  authority  with  the 
text.  A  few  refer  to  music,  which  we  shall  consider  in  their 
proper  places.  The  object  of  the  title  is  generally  to  name  the 
author,  the  chief  singer,  the  instrument  of  music  to  be  used,  or 
style  of  music,  the  kind  of  poetry,  or  the  subject  or  occasion 
of  the  psalm.  In  our  English  version  the  Hebrew  words  are 
generally  retained  without  attempting  a  translation.  Luther 
translated  them  as  well  as  his  knowledge  of  their  meaning 
would  allow  ;  but  Coverdale  omitted  them  altogether,  excepting 
the  names  of  the  authors. 

In  this  psalm  (iii)  the  word  Selah  occurs  at  the  end  of 
the  second,  fourth,  and  eighth  verses.  There  is  a  variety 
of  opinions  in  respect  to  its  signification.  It  occurs  seventy 
three  times  in  the  Book  of  Psalms,  and  three  times  in  the 
prophecy  of  Habakkuk.  It  occurs  still  more  frequently  in 
the  Septuagint,  and  is  there  translated  by  AIA^AAMA  di- 
apsalma,  signifying  a  rest  or  pause,  referring  to  music. 
Suidas  thinks  that  diapsalma  signifies  a  change  of  the  song, 


310 


SELAH  EXPLAINED. 


or  modulation.  Some  suppose  that  it  refers  to  the  iwie 
of  the  music,  and  corresponds  to  slow  among  us.  Others  be- 
lieve that  it  denotes  a  repetition  of  the  last  strain  by  a  chorus  ; 
others  still  that  it  indicates  a  change  of  metre^  and  others  sup- 
pose that  it  calls  particular  attention  to  a  remarkahle  passage. 
Jerome  asserts  that  it  connects  what  follows  with  what  pre- 
cedes, and  that  the  clause  with  which  it  is  connected  is  of  great 
importance.  Jahn  and  others  think  that  it  is  similar  to  the 
Italian  Da  Capo  ;  Buxtorf  and  others  that  it  is  a  note  of  ancient 
music,  and  that  its  use  is  now  lost.  Calmet  and  others  believe 
that  it  was  put  in  the  margin  to  denote  the  end  of  a  strain,  and 
indicated  the  time  when  the  whole  choir  were  to  suspend  their 
voices,  or  commence  again.  Eabbi  Kimchi  affirms  that  it  prob- 
ably refers  both  to  music  and  the  sense,  denoting  something 
specially  important.  A.  F.  PfeifFer,  Rosenmiiller,  and  others 
suppose  it  to  denote  a  rest  for  the  vocal  performers,  while  the 
instruments  are  sounding.  Ewald  and  De  Wette  derive  it 
from  niO  bi^D'  raise^  and  suppose  that  it  means  a  raising 
of  the  voice  or  music.  Gesenius,  Rosenmiiller,  Hengstenberg, 
Tholuck,  and  others  derive  it  from  silent^  and  sup- 

pose that  it  signifies  a  j^ct^ise  in  the  singing.  Herder  maintains 
that  it  corresponds  neither  with  pauses,  da  capo,  nor  intermezzo, 
but  must  mean  change  of  tone^  expressed  by  increase  of  force,  or 
transition  into  another  time  and  mode  (Herd.  Spir.  Heb.  Poet.  vol. 
ii.,  p.  267,  Marsh's  transl.).  Nearly  all  critics  agree  that  the  prin- 
cipal use  of  Selah  was  in  music,  while  some  suppose  that  it  had 
reference  both  to  the  sense  and  to  music.  Is  it  not  highly 
probable  that  it  did  refer  to  both  ?  Professor  Wilson,  late  of 
Oxford,  has  presented  an  ingenious  and  perhaps  correct  expla- 
nation of  the  term,  at  least  in  many  cases  where  it  occurs. 
He  says,  "  The  root  of  the  word  appears,  evidently,  to  lie  in 
the  two  first  letters,  ^Q,  which  are  in  contraction  for  ^bO? 
raise^  to  exalt,  to  magnify.^''  He  supposes  X]  to  be  an  abbrevia- 
tion for  and  Selah  would  thus  be  a  contracted  form  for 
Jl^lbO'  celebrate  ye  Jehovah,  exalt  the  Lord^  viz :  in  songs 
of  praise,  accompanied  by  instruments  of  music.    Thus  it  in- 


PSAL^r  IV.  1-8. 


311 


dicates  about  the  same  as  n^lJin:  Hallelvijah^  meaning 
Praise  ye  the  Lord.  This  view  is  confirmed  by  the  latter  part 
of  verse  fourth  of  the  sixty-eighth  psalm,  which  is  translated 
thus  :  Extol  Him  that  rideth  upon  the  heavens  with  the  name 
Jah  (vid.  Wilson's  Ileb.  Gram.,  pp.  315,  316,  4th  edition,  as 
quoted  by  T.  H.  Home,  Intro.  P.  v.,  c.  iii.,  Sec.  ii.  viii).  Still, 
judging  from  the  connection  in  which  it  is  employed,  we  believe 
that  in  many  cases  it  signifies  silence^  or  a  pause  in  the  music. 

Psal:^!  iv.  1-8. 

To  the  Chief  Musician  on  Keginoth.    A  Psalm  of  David. 

1  Hear  me  when  I  call,  0  God  of  my  righteousness : 
Thou  hast  enlarged  me  when  I  was  in  distress  ; 
Have  mercy  upon  me,  and  hear  mj  prayer. 

2  0  ye  sons  of  men,  how  long  ivill  ye  turn  my  glory 

into  shame  ?  [Selab. 
Hoiu  long  will  ye  love  vanity,  and  seek  after  leasing  ? 

3  But  know,  that  the  Lord 

Hath  set  apart  him  that  is  godly  for  himself : 
The  Lord  will  hear  when  I  call  unto  him. 

4  Stand  in  awe,  and  sin  not ; 

Commune  with  3'our  own  heart  upon  3'our  bed,  and  be 
still.  Selah. 

5  Offer  the  sacrifices  of  righteousness  ; 
And  put  your  trust  in  the  Lord. 

6  There  he  many  that  say,  Who  will  show  us  any  good  ? 
Lord,  lift  tbou  up  the  ligbt  of  thy  countenance  upon  us. 

Y  Thou  hast  put  gladness  in  my  heart, 

More  than  in  the  time  tliat  their  corn  and  their  wine 
increased. 

8  I  will  both  lay  me  down  in  peace,  and  sleep  : 
For  tbou,  Lord,  only  makest  me  dwell  in  safety. 

This  Psalm  seems  to  be  a  prayer  of  David,  and  is  believed  to 
have  been  composed  about  1023  B.  C.    He  calls  upon  God  to 


812  NEGIXOTH  EXPLAIXED. 

deliver  him  from  his  present  aiicl  past  troubles,  and  defends 
himself,  in  the  possession  of  his  kingdom,  from  the  assaults  of 
his  foes.  The  composition  is  dedicated  to  the  chief  musician 
or  superintendent  of  the  temple  music.  The  Hebrew  term 
translated  to  the  chief  musician  is  PllS^TOb  lanmatseahlt,  derived 

from  n!^5  7iaisahh,  signifying  io  shine,  to  conquer,  and,  in  the 

Peal  conjugation,  io  lead  in  music.  The  chief  musician  was  to 
superintend  the  recital  of  the  poetry  and  the  accompanying 
music.  This  psalm  was  doubtless  prepared  for  the  use  of  the 
temple  service,  and  not  for  any  private  purpose.  The  title  fur- 
ther indicates  how  the  stanzas  were  to  be  recited. 

On  Keginoth  (^("j^-.j^  n^ginoth). — The  Hebrew  word,  it  will 

be  perceived,  is  not  translated,  but  transferred,  in  our  English 
version,  and  appears  in  the  titles  of  five  other  psalms  (viz  :  vi. 
liv.  Iv.  Ixi.  Ixxvi).    It  is  derived  from  n!3'^3D  f^^ginah,  signi- 

fying  music  of  stringed  instruments.  According  to  Gesenius, 
this  term  means  simply  instruments  of  music.  Prof.  Alexan- 
der, in  his  excellent  commentary  on  the  Psalms,  supposes  that 
it  denotes  stringed  instruments,  and  that  it  "  may  either  qualify 
chief  musician,  as  denoting  the  leader  in  that  particular  style 
of  performance,  or  direct  him  to  perform  this  psalm  with  that 
kind  of  accompaniment"  (vid.  J.  A.  Alexander's  Comment, 
on  Psal.  vol.  i.  p.  27).    The  verb         nagan,  from  which  the 

-  T 

nouns  n^g'ina  and  n^g'inoth  are  derived,  means  to  strike  a  chord, 
thus  clearly  showing  that  the  reference  is  to  stringed  instru- 
ments. T.  H.  Horne  supposes  that  it  signifies  stringed  instru- 
ments to  be  played  on  with  the  fingers  (cf  p.  80,  supra).  Cal- 
met  proposes  to  translate  the  title  thus  :  "  A  Psalm  of  David, 
t-o  the  master  of  music  who  presides  over  the  stringed  instru- 
ments." The  term  Selah  occurs  at  the  end  of  verses  2  and  4. 
The  last  occurrence  of  it  seems  to  the  writer  to  be  a  pretty 
clear  case  in  which  it  signifies  silence,  a  pause  in  the  music. 
Otherwise  it  would  do  violence  to  the  sense.  There  are  no 
other  allusions  to  music  in  this  psalm. 


PSALM  V.  1-12. 


313 


Psal:h  v.  1-12. 

To  the  Chief  Musician  iipon  Kehiloth.    A  Psalm  of  David. 

1  Give  ear  to  my  words,  0  Lord  ; 
Consider  my  meditation. 

2  Hearken  unto  the  voice  of  my  cry,  my  King, 
And  my  God :  for  unto  thee  will  I  pray. 

3  My  voice  shalt  thou  hear  in  the  morning,  0  Lord  ; 

Li  the  morning  will  I  direct  iny  prayer  unto  thee,  and 
will  look  up. 

4  For  thou  art  not  a  God  that  hath  pleasure  in  wicked- 

ness ; 

Neither  shall  evil  dwell  with  thee. 

5  The  foolish  shall  not  stand  in  thy  sight : 
Thou  hatest  all  workers  of  iniquity. 

6  Thou  shalt  destroy  them  that  speak  leasing : 

The  Lord  will  abhor  the  bloody  and  deceitful  man. 

7  But  as  for  me,  I  will  come  into  thy  house  in  the  mul- 

titude of  thy  mercy  ; 
And  in  thy  fear  will  I  worship  toward  thy  holy  temple. 

8  Lead  me,  0  Lord,  in  thy  righteousness. 

Because  of  mine  enemies ;  make  thy  way  straight  be- 
fore my  fiice. 

9  For  there  is  no  faithfulness  in  their  mouth  ; 
Their  inward  part  is  very  wickedness  ; 
Their  throat  is  an  open  sepulchre  ; 

They  flatter  with  their  tongue. 

10  Destroy  thou  them,  0  God ; 

Let  them  fall  by  their  own  counsels : 

Cast  them  out  in  the  multitude  of  their  transgressions: 

For  they  have  rebelled  against  thee, 

11  But  let  all  those  that  put  their  trust  in  thee  rejoice  : 
Let  them  ever  shout  for  joy  because  thou  defendest 

them ; 

14 


NEHILOTH  EXPLAINED. 


Let  tliem  also  that  love  tlij  name  be  joyful  in  thee. 
12  For  thou,  Lord,  wilt  bless  the  righteous  ; 

With  favor  wilt  thou  compass  him  as  with  a  shield. 

This  Psalm  also,  in  the  title,  is  ascribed  to  David.  The  poet 
pleads  for  divine  assistance,  that  he  may  be  delivered  from  his 
enemies,  who  were  ready  to  devour  him.  The  composition 
seems  to  be  a  kind  of  double  psalm,  the  same  considerations 
being  repeated  in  the  lost  part  of  it,  as  occur  in  the  first. 
The  two  preceding  psalms  form  a  pair,  repeating,  in  a  similar 
manner,  essentially  the  same  truths.  This,  like  the  fourth 
psalm,  is  addressed  to  the  chief  musician. 

On  N^hhiloth  (tli^'^n^)- — This  is  a  very  obscure  term,  and 

is  untranslated  in  our  English  version.  The  LXX  trans- 
late it  by  fcXTjpovofiovGTjg  kleronomouses,  derived  from  the  verb 
KXrjpovoiJiect)  kleronomeo,  signifying,  to  get^  or  obtain  by  lot. 
Hengstenberg  supposes  that  the  Hebrew  word  signifies  lots  or 
heritages,  being  derived  from  the  verb  ^pj;]  nahhal,  to  2>ossess, 

-  T 

and  that  the  LXX  have  translated  it  correctly.    Most  of  the 

ancient  versions  explain  it  in  a  similar  manner,  referring  it  to 

the  subject  of  the  psalm.    Calmet  supposes  that  it  is  derived 

from  the  verb  J^^pl  hhalal,  to  perforate^  and  me^ws  pipes  or  flutes. 

"  T     ■■  ,  .a 

De  Wette  and  others  take  the  same  view,  while  Rosenmiiller 
supposes  that  the  organ  was  intended.  Gesenius  intimates, 
that,  in  the  singular  number,  (nb^/l^  n^hhilah),  the  term  means 

T    .  : 

an  instrument  of  music,  probably  the  tibia,  pipe  or  flute. 
Modern  critics  generally  suppose  that  the  word  relates  to 
music,  and  to  some  kind  of  wind  instrument.  This  is  probably 
its  signification.  If  it  refer  to  a  flute,  then  we  must  under- 
stand that  the  psalm  w^as  to  be  sung  to  an  accompaniment  of 
that  instrument ;  but  the  fact  that  flutes  are  not  mentioned  as 
a  part  of  the  temple  instrumental  music,  has  led  some  to  sup- 
pose that  it  signifies  the  name  of  a  tune  or  of  another  song  to 
the  melody  of  which  this  psalm  was  to  be  adapted  (vid.  J.  A. 


PSALM  ly.  1-10. 


315 


Alexander's  Com.  on  this  Psalm).  It  is  by  no  means  certain, 
however,  that  flutes  were  not  used  in  the  temple  service.  "We 
know  that  wind  instruments  were  employed,  and  Xehiloth  may 
include  flutes  among  others  of  that  class. 

Inverse  11  we  have  a  reference  to  music.  Shoui  (■^•I'l'*) 
y^rannenu^  from  "^^i  rnnan^  to  give  forth  a  tremulous  sound. 
Peal  conjugation,  to  shout. 

PSAL^I  vi.  1-10. 

The  following  is  Herder's  translation  (Marsh's  Ed.) 

To  the  Chief  Musician  on  Xeginoth  upon  Sheminith.    A  song  of 

David. 

1  0  Lord,  rebuke  me  not  in  tbj  wratb, 
Nor  chasten  me  in  thy  fierce  anger. 

2  Be  merciful  to  me,  0  Jebovab !  for  I  am  weak. 
Heal  me,  0  Jehovah,  for  my  bones  tremble ; 

8  My  whole  soul  is  in  terrors. 

And  thou,  Jebovab  ?  0  bow  long ! 

4  Eeturn,  0  Jebovab,  deliver  my  soul. 
0  save  me  for  tby  mercies'  sake. 

5  For  in  death  tbere  is  no  remembrance  of  tbee, 
In  tbe  grave,  who  shall  give  tbee  thanks  ? 

6  I  am  weary  witb  my  groaning, 
All  nigbt  my  bed  is  wet  with  tears. 
With  tears  I  make  my  coucb  to  swim, 

7  !Mine  eye  is  consumed  witb  sorrow. 

It  looks  but  feebly  upon  all  mine  enemies. 

8  Depart  from  me,  ye  workers  of  iniquity ! 
For  God  bath  beard  tbe  voice  of  my  weeping. 

9  Jebovab  bath  beard  my  supplication, 
Jebovab  bath  accepted  my  praj'er. 

10  Ashamed,  confounded,  shall  be  my  enemies. 
They  shall  fall  back,  and  be  ashamed  suddenly. 


SHEMINITH  EXPLAINED. 


In  this  psalm,  the  writer  prays  that  God  would  deliver  him 
^  from  his  severe  affliction,  intimating  that  he  cannot  endure  them 
longer  without  assistance,  and  implores  divine  interposition. 
He  is  sure  of  aid,  and  certain  that  his  enemies,  the  originators 
of  his  distress,  will  be  overthrown.  This  is  called  the  first  of 
the  peniteniial  psalms.  It  is  ascribed  to  David,  by  whom  it 
was  evidently  written,  near  the  close  of  his  life.  Like  Psalms 
iv.  and  v.,  it  is  addressed  to  the  chief  musician,  and,  like  Psalm 
iv.,  was  to  be  performed  on  7i^ginoth^  (for  an  explanation  of 
this  term,  vid.  Rem.  on  Psalm  iv.  supra).  The  title  further 
adds,  o/i  ShemiaUh  (tl'^^^^tl))-    ^he  same  term  is  used  in  the 

title  of  Psalm  xii.  The  LXX  translate  it  by  oy6orig  ogdoes^ 
from  oydoo^  ogdoos,  meaning  eighth.  Gesenius,  De  Wette, 
Hengstenberg,  Tholuck,  and  others  consider  that  rendering  as 
correct,  and  suppose  the  term  to  refer  to  music  in  the  lower 
notes  or  bass.  Home  and  others  think  it  refers  to  a  harp 
with  eight  strings.  Prof.  Alexander  remarks  that  the  term 
corresponds  exactly  to  our  octave.  Some  suppose  that  it  has 
no  reference  to  instrumental  music.  The  most  reasonable  sup- 
position is,  that  it  refers  to  the  lower  notes  or  bass,  whether 
performed  by  instruments  or  the  voice.  In  I  Chronicles  xv. 
20,  21,  we  have  an  instance  in  which  sheminith  evidently  de- 
notes the  lowest  part  (our  bass — an  octave  below),  in  opposi- 
tion to  alamoth^  which  denotes  the  higher  part  (our  treble), 
(vid.  Rem.  on  I  Chron.  xv.  20,  21). 

Psalm  vii.  1-18. 

Shiggaion  of  David,  which  he  sang  unto  the  Lord,  concerning  Gush 
the  Benjaminite. 

1  0  Lord,  my  God,  in  thee  do  I  put  my  trust : 

Save  me  from  all  them  that  persecute  me,  and  deliver 
me. 

2  Lest  be  tear  my  soul  like  a  lion, 

Rending  it  in  pieces  while  there  is  none  to  deliver. 


PSALM  VII.  1-18. 


317 


8  0  Lord,  my  God,  if  I  have  done  this ; 
If  there  be  iniquity  in  my  hands ; 

4  If  I  have  rewarded  evil  unto  him  that  was  at  peace 

with  me; 

(Yea  I  have  delivered  him  that  without  cause  is  mine 
enemy) ; 

5  Let  the  enemy  persecute  my  soul  and  take  it ; 
Yea,  let  him  tread  down  my  life  upon  the  earth, 
And  lay  mine  honor  in  the  dust.  Selah. 

6  Arise,  0  Lord,  in  thine  anger, 

Lift  up  thyself,  because  of  the  rage  of  mine  enemies ; 
And  awake  for  me  to  the  judgment  that  thou  hast  com- 
manded. 

Y  So  shall  the  congregation  of  the  people  compass  thee 
about ; 

For  their  sakes,  therefore,  return  thou  on  high. 

8  The  Lord  shall  judge  the  people: 

Judge  me,  O  Lord,  according  to  my  righteousness, 
And  according  to  mine  integrity  that  is  in  me. 

9  Oh !  let  the  wickedness  of  the  wicked  come  to  an  end ; 
But  establish  the  just: 

For  the  righteous  God  trieth  the  hearts  and  reins. 

10  My  defence  is  of  God,  which  saveth  the  upright  in 

heart. 

11  God  judgeth  the  righteous,  and  God  is  angry  with  the 

icicked  every  day. 

12  If  he  turn  not,  he  will  whet  his  sword ; 
He  hath  bent  his  bow,  and  made  it  ready. 

13  He  hath  also  prepared  for  him  the  instruments  of 

death ; 

He  ordaineth  his  arrows  against  the  persecutors. 

14  Behold,  he  travaileth  with  iniquity, 
And  hath  conceived  mischief, 
And  brought  forth  falsehood. 


318 


SHIGGAION  EXPLAINED. 


15  He  made  a  pit,  and  digged  it, 

And  is  fallen  into  the  ditch  which  he  made. 

16  His  mischief  shall  return  upon  his  own  head, 

And  his  violent  dealings  shall  come  down  upon  his 
own  pate. 

17  I  will  praise  the  Lord  according  to  his  righteousness ; 

18  And  will  sing  praise  to  the  name  of  the  Lord  most 

high. 

This  psalm  is  ascribed  to  David,  and  is  supposed  to  have 
been  composed  by  him  a  little  before  his  death.  The  author 
here,  as  in  the  preceding  one,  prays  for  deliverance  from  his 
malicious  foes.  He  speaks  not  as  an  individual,  but  as  the  rep- 
resentative of  the  righteous,  and  justifies  the  latter  through  him- 
self. He  believes  that  the  vengeance  of  God  will  be  exhibited 
against  the  impenitent — that  they  will  even  be  their  own  de- 
stroyers. In  the  title,  the  term,  shiggayon  ('^i'^^tlJ)  which  is  not 

translated  in  our  English  version,  signifies,  according  to  Gese- 
nius,  a  song,  a  psalm,  and  is  derived  from  nTit2j  shagoh,  to  he 

XT 

great.  In  the  Peal  conjugation,  if  used,  it  would  mean  to  mag- 
nify, to  extol  with  praises,  to  utter  a  song  under  the  greatest  ex- 
citement. Shiggayon  is  a  noun,  translated  by  the  LXX  by 
ipaXfiog  psalmos,  psalm.  De  Wette,  Tholuck,  Rosenmiiller, 
Calmet,  Dr.  Kennicott,  and  others  suppose  that  it  signifies  a 
plaintive  song  or  elegy.  Ewald,  Hengstenberg,  and  others 
maintain  that  it  refers  to  the  errors  or  abberations  of  the 
wicked,  and  includes  the  subject  discussed  in  the  poem.  They 
call  it  a  wandering  psalm.  Houbigant,  Parkhurst,  and  others 
also  think  that  it  signifies  a  ivandering  song,  referring  to  the  fact 
that  David  had  fled  as  a  fugitive  from  Saul.  They  derive  it 
from  an  Arabic  root.  Should  we  not  arrive  nearer  the  truth 
by  uniting  the  opinion  of  Houbigant  with  that  of  Rosenmiiller 
and  others,  thus  making  it  2^  plaintive,  wandering  song,  composed 
by  David  while  in  the  deepest  distress,  fleeing  from  his  perse- 
cutor Saul  1 


PSALM  Till.  1-9. 


319 


The  title  further  informs  us  that  the  psalm  relates  to  the 
words  of  Cush^  the  Beiijaminite.  Some  suppose  this  Cush  to 
have  been  a  person,  nowhere  else  appearing  in  history.  Others 
think  that  Shimei,  who  cursed  David,  is  the  individual  indicated  ; 
and  others  still,  with  more  probability,  we  think,  maintain  that 
it  refers  to  Saul,  as  Cush  is  the  Hebrew  name  of  ^Ethiopia,  and 
would  apply  to  Saul,  whose  character  was  morally  black,  like 
an  Ethiopian. 

In  the  fifth  verse  the  word  Selah  occurs,  and  gives  effect  to 
the  preceding  solemn  appeal  to  God,  by  indicating  silence. 
I  will  sing  "I'STi^S  ^zamni^rah  (v.  17),  future  tense  from 

"\/^T  ^^P'^'^i'i  to  prune. 

-T 

Psal:\i  viii.  1-9. 

To  the  Chief  Musician  upon  Gittith.    A  Psalm  of  David. 

1  0  Lord,  our  Lord,  bow  excellent  is  tbj  name  in  all 

tbe  earth  I 

Who  bast  set  tby  glory  above  tbe  beavens. 

2  Qiit  of  tbe  mouths  of  babes  and  sucklings 

Hast  tbou  ordained  strength,  because  of  tbine  ene- 
mies ; 

That  tbou  migbtest  still  tbe  enemy  and  tbe  avenger. 

3  "When  I  consider  tby  beavens, 
Tbe  work  of  tby  fingers, 
Tbe  moon  and  tbe  stars, 
Wbicb  tbou  bast  ordained ; 

4  Wbat  is  man,  that  tbou  art  mindful  of  bim  ? 
And  tbe  son  of  man,  that  tbou  visitest  bim  ? 

5  For  tbou  bast  made  bim  a  little   lower   then  tbe 

angels. 

And  bast  crowned  bim  with  glory  and  bonor. 

6  Tbou  madest  bim  to  have  dominion  over  tbe  works  of 

tby  bands ; 


820 


GITTITH  EXPLAINED. 


Thou  "hast  put  all  tilings  under  his  feet; 

7  All  slieep  and  oxen, 

Yea,  and  the  beasts  of  the  field  ; 

8  The  fowl  of  the  air,  and  the  fish  of  the  sea, 

And  whatsoever  passeth  through  the  paths  of  the 
seas. 

9  0  Lord  our  Lord,  how  excellent  is  thy  name  in  all  the 

earth ! 

This  psalm  is  ascribed  to  David,  and  is  supposed  to  have 
been  written  about  1015  B.  C.  It  extols  the  excellence  of 
Deity  as  displayed  in  animate  and  inanimate  creation.  It  is 
addressed  to  the  chief  musician  upon  Gittith.  This  term  is  un- 
translated in  our  version.  The  same  expression  appears  also  in 
Ps.  Ixxxi.  and  Ixxxiv.    The  Hebrew  is  j^^^^  giitiih,  feminine 

from  the  noun  "^-y  Gath^  the  name  of  one  of  the  principal  cities 

of  the  Philistines.  Or  it  may  signify  a  wine-press.  Gesenius 
supposes  that  the  feminine  form,  gittith^  indicates  an  instrument 
of  music,  so  called  either  because  it  was  common  among  the  Git- 
tites,  or  belonged  to  the  wine-press,  and  was  used  to  accompany 
the  songs  of  the  vintage.  Rabbi  Jarchi,  Tholuck,  De  Wette, 
Hengstenberg,  Rosenmiiller,  Ewald,  and  others  suppose  it  to 
signify  an  instrument  brought  from  Gath.  The  Septuagint  has 
vrrep  tCjv  A7]vC)v  hvper  ton  lenbn^  referring  to  a  wine-press. 
Calmet  thinks  that  it  is  an  air  or  song  sung  at  the  time  of  vint- 
age. The  etymology  of  the  word  evidently  refers  to  the  wine- 
press, and  the  most  probable  opinion  is  that  it  was  an  instru- 
ment of  music  used  by  the  Gittites  and  adopted  by  the  He- 
brews (David  having  once  resided  at  Gath),  and  afterwards  used 
by  the  Jews  as  a  favorite  instrument  during  the  festivities  of 
the  vintage.  What  kind  of  an  instrument  it  was  we  have  no 
means  of  ascertaining.  Some  suppose  that  it  resembled  the 
wine-press  in  shape;  but  nothing  can  be  determined  with  cer- 
tainty upon  the  subject.  There  are  no  further  allusions  to 
music  in  the  psalm. 


PSALM  IX.  1-20. 


321 


Psalm  ix.  1-20. 

To  the  Chief  Musician  upon  Muth-lablen.    A  Psalm  of  David. 

1  I  will  praise  thee^  0  Lord,  with  my  whole  heart; 
I  will  show  forth  all  thy  marvellous  works. 

2  I  will  be  glad  and  rejoice  in  thee : 

I  will  sing  praise  to  thy  name,  0  thou  Most  High. 

3  When  mine  enemies  are  turned  back, 
They  shall  fall  and  perish  at  thy  presence. 

4  For  thou  hast  maintained  my  right  and  my  cause ; 
Thou  sattest  in  the  throne  judging  right. 

5  Thou  hast  rebuked  the  heathen,  thou  hast  destroyed 

the  wicked, 

Thou  hast  put  out  their  name  for  ever  and  ever. 

6  0  thou  enemy !  destructions  are  come  to  a  perpetual 

end  ; 

And  thou  hast  destroyed  cities  : 
Their  memorial  is  perished  with  them. 

7  But  the  Lord  shall  endure  for  ever : 

He  hath  prepared  his  throne  for  judgment ; 

8  And  he  shall  judge  the  world  in  righteousness, 

He  shall  minister  judgment  to  the  people  in  upright- 
ness. 

9  The  Lord  also  will  be  a  refuge  for  the  oppressed, 
A  refuge  in  times  of  trouble. 

10  And  they  that  know  thy  name  will  put  their  trust  in 

thee : 

For  thou.  Lord,  hast  not  forsaken  them  that  seek  thee. 

11  Sing  praises  to  the  Lord,  which  dwelleth  in  Zion  ; 
Declare  among  the  people  his  doings. 

12  When  he  maketh  inquisition  for  blood,  he  remember- 

eth  them  : 

He  forgetteth  not  the  cry  of  the  humble. 


322 


MUTH-LABBEN  EXPLAINED. 


13  Have  mercy  upon  me,  0  Lord  ; 

Consider  my  trouble  which  I  suffer  of  tliem  that  hate 
me, 

Thou  that  liftest  me  up  from  the  gates  of  death ; 

14  That  I  may  sliow  forth  all  thy  praise 
In  the  gates  of  the  daughter  of  Zion  : 
I  will  rejoice  in  thy  salvation. 

15  The  heathen  are  sunk  down  in  the  pit  that  they  made } 
In  the  net  which  they  hid  is  their  own  foot  taken. 

13  The  Lord  is  known  hy  the  judgment  which  he  execut- 
eth  : 

The  wicked  is  snared  in  the  work  of  his  own  hands. 

Higgaion.  Selah. 

17  The  wicked  shall  be  turned  into  hell, 
And  all  the  nations  that  forget  God. 

18  For  the  needy  shall  not  alway  be  forgotten  : 

The  expectation  of  the  poor  shall  not  perish  forever. 

19  Arise,  0  Lord,  let  not  man  prevail ; 
Let  the  heathen  be  judged  in  thy  sight. 

20  Pat  them  in  fear,  0  Lord ; 

That  the  nations  may  know  themselves  to  he  tut  men. 

Selah. 

This  Psalm  is  supposed  to  have  been  written  by  David  after 
his  victory  over  Goliath.  He  expresses  his  thankfulness  for 
past  mercies,  aiid  full  confidence  in  God,  that  he  would  continue 
to  bless  hini.  Tlie  psalm  is  addressed  to  the  chief  musician, 
and  there  is  added,  in  the  title,  the  expression  al-nuiih-ldhhen 
"J^b  literally,  upon  death  to  the  son.     There  are 

various  readings  in  different  manuscripts.  Some  have  Alamoth 
or  Alamvbth^  which  means  virr;ins,  and  probably  relates  to  that 
part  in  music  usually  performed  by  females,  which  is  our  treble 
(vid.  Rem.  on  I  Chron.,  xv.  20,  supra).  Some  critics  suppose 
that  Miith-labhen  refers  to  the  occasion  which  called  forth  the 
psalm  ;  but  most  refer  it  to  a  musical  accompaniment.  Gesen- 


PSALM  X.  1-18. 


823 


ius  maintains  that  it  relates  to  music  performed  by  a  choir  of 
boys  in  the  treble.  Calmet  supposes  a  choir  of  virgins  to  be 
indicated,  taking  Alamuth  for  the  true  reading ;  labben  he  con- 
siders as  two  words,  La  Ben.  to  Ben  or  Benaiah.  Professor 
Alexander  inclines  to  the  opinion  that  Muth-labben  indicates 
the  title,  first  words,  or  a  prominent  expression  of  some  other 
poem,  in  the  style  or  to  the  air  of  which  this  psalm  was  com- 
posed. The  term  is  very  obscure,  but  probably  relates  to  mu- 
sic, perhaps  of  a  mournful  kind,  or  to  some  accompanying 
instrument. 

Sing  (v.  2). — The  same  Hebrew  word  is  here  used  as  in  Ex. 
XV.  2.  The  same  term  is  also  translated  sing  in  verse  11  of  tTiis 
psalm.  Cry  (v.  12)  signifies  a  call  for  help,  and  does  not 
relate  to  music. 

Higgaion-sehh  (v.  16). — The  Hebrew  term  is  XibZ)  "jl^v^n 

higgaydn  selah.  Gesenius  defines  Higgaion  to  signify  a  murmur 
— sound  of  the  harp  or  cithara.  But  in  this  place  he  considers 
the  two  words,  higgaion  selah^  as  musical  terms,  indicating  that 
the  instruments  were  to  strike  up  a  symphony  while  the  vocal 
performers    should  pause.     Higgnyon  ("jV-^n)  probably 

derived  from  J^^n  ^^^QZ^-,      murmur,  to  mutter,  to  growl ;  evi- 

T  T 

dently  referring  to  a  low  sound,  if  not  to  entire  silence.  In 
connection  with  selah,  there  is  more  reason  in  supposing  that 
2k  i^ause,  silence,  meditation,  are  indicated,  as  that  term  is  un- 
doubtedly often  used  to  denote  silence  (^dd.  Rem.  on  Ps.  iii. 
supra).  Tlioluck,  Hengstenberg,  and  others,  think  that  the  terms 
in  conjunction  mean  that  the  vocal  performers  were  to  meditate 
while  the  music  should  cease.  The  LXX  translate  the  phrase 
by  (1)6t)  dLaibd/.fiaroc,  ode  diapsalmatos,  signifying  a  pause  in  the 
music.  Selah  occurs  again  in  verse  20,  and  probably  indicates 
silence. 

Psalm  x.  1-18. 

1  Why  standest  tbou  afar  off,  0  Lord  ? 

Why  bidest  tbou  thyself  in  times  of  trouble  ? 


324 


PSALM  OF  DAVID. 


2  The  wicked  in  his  pride  doth  persecute  the  poor  : 
Let  them  be  taken  in  the  devices  that  they  have  im- 
agined. 

3  For  the  wicked  boasteth  of  his  heart's  desire, 

And  blesseth  the  covetous,  whom  the  Lord  abhorreth. 

4  The  wncked,  through  the  pride  of  his  countenance, 

will  not  seek  after  God : 
God  is  not  in  all  his  thoughts. 

5  His  ways  are  always  grievous  ; 

Thy  judgments  ai^e  fiir  above  out  of  his  sight: 
As  for  all  his  enemies,  he  puffeth  at  them. 

6  He  hath  said  in  his  heart,  I  shall  not  be  moved : 
For  I  shall  never  he  in  adversity. 

7  His  mouth  is  full  of  cursing,  and  deceit,  and  fraud ; 
Under  his  tongue  is  mischief  and  vanity. 

8  He  sitteth  in  the  lurking-places  of  the  villages  ; 
In  the  secret  places  doth  he  murder  the  innocent : 
His  eyes  are  privily  set  against  the  poor. 

9  He  lieth  in  wait  secretly  as  a  lion  in  his  den ; 
He  lieth  in  wait  to  catch  the  poor : 

He  doth  catch  the  poor,  when  he  draweth  him  into  his 
net. 

10  He  crouch eth,  and  humbleth  himself. 
That  the  poor  may  fall  by  his  strong  ones. 

11  He  hath  said  in  his  heart,  God  hath  forgotten  : 
He  hideth  his  face ;  he  will  never  see  it. 

12  Arise,  0  Lord  ;  0  God,  lift  up  thine  hand  : 
Forget  not  the  humble. 

13  Wherefore  doth  the  wicked  contemn  God? 

He  hath  said  in  his  heart,  Thou  wilt  not  require  it. 
L4  Thou  hast  seen  it  /  for  thou  beholdest 

Mischief  and  spite,  to  requite  it  with  thy  hand : 
The  poor  committeth  himself  unto  thee  : 
Thou  art  the  helper  of  the  fatherless. 


PSALM  XII.  1-8.  325 

15  Break  thou  the  arm  of  the  wicked,  and  the  evil  man: 
Seek  out  his  wickedness,  till  thou  find  none. 

16  The  Lord  is  king  for  ever  and  ever: 
The  heathen  are  perished  out  of  his  land. 

17  Lord,  thou  hast  heard  the  desire  of  the  humble  ; 
Thou  wilt  prepare  their  heart,  thou  wilt  cause  thine 

ear  to  hear ; 

18  To  judge  the  fatherless  and  the  oppressed, 

That  the  man  of  the  earth  may  no  more  oppress. 

This  psalm  has  no  title,  hut  was  evidently  composed  by  Da- 
vid during  the  Babylonish  captivity.  The  Vulgate  and  Septua- 
gint  unite  this  with  the  ninth,  and  make  of  the  two  a  pair^  or 
douhle-psalm.  The  first  part  of  this  poem  is  ascribed  to  David, 
and  the  latter  part  bears  strong  evidence  that  it  was  from  the 
same  pen. 

The  king  of  Israel  asserts  that  he  is  neglected  by  Jehovah. 
He  also  avers  that  he  is  hated  by  his  foes,  and  prays  for  deliv- 
erance. 

Psalm  xii.  1-8. 

To  the  Chief  Mmician  upon  Sheminith.    A  Psalm  of  David. 

1  Help,  Lord,  for  the  godly  man  ceaseth  ; 

For  the  faithful  fail  from  amonsr  the  children  of  men. 

o 

2  They  speak  vanity  every  one  with  his  neighbor : 
With  flattering  lips,  and  with  a  double  heart,  do  they 

speak. 

8  The  Lord  shall  cut  off  all  flattering  lips, 
And  the  tongue  that  speaketh  proud  things ; 

4  Who  have  said.  With  our  tongue  will  we  prevail  ; 
Our  lips  are  our  own  :  who  is  lord  over  us  ? 

5  For  the  oppression  of  the  poor,  for  the  sighing  of  the 

needy. 

Now  will  I  arise  saith  the  Lord  ; 


826 


PSALM  OF  DAVID. 


I  will  set  him  in  safety ym/z-  him  that  pufFeth  at  him. 

6  The  words  of  the  Lord  are  pure  words ; 
As  silver  tried  in  a  furnace  of  earth 
Purified  seven  times. 

7  Thou  shalt  keep  them,  0  Lord, 

Thou  shalt  preserve  them  from  this  generation  for  ever. 

8  The  wicked  walk  on  every  side. 
When  the  vilest  men  are  exalted. 

In  the  first  part  of  this  psalm  of  David  the  author  speaks  of 
the  prevalence  of  wickedness  and  the  declension  of  piety,  and 
in  the  latter  part  he  expresses  his  confidence  that  he  should  re- 
ceive assistance  from  on  high,  hi  the  title,  the  psalm  is  direct- 
ed to  the  chief  musician  on  Sheminith,  meaning,  probably,  on 
the  octave  below,  or  on  a  bass  instrument  of  music  (vid.  Re- 
marks on  I  Chron.,  xv.  21,  and  Ps.  vi).  There  is  no  other  ref- 
erence to  music  in  the  poem. 

Psalm  xiii.  1-6. 

To  the  Chief  Musician.    A  Psalm  of  David. 

1  How  long  wilt  thou  forget  me,  0  Lord,  forever? 
How  long  wilt  thou  hide  thy  face  from  me? 

2  How  long  shall  I  take  counsel  in  my  soul, 
Having  sorrow  in  my  heart  daily  ? 

IIow  long  shall  mine  enemy  be  exalted  over  me  ? 

3  Consider  and  hear  me,  0  Lord  my  God  : 
Lighten  mine  eyes,  lest  I  sleep  the  sleep  of  death  ; 

4  Lest  mine  enemy  say,  I  have  prevailed  against  him ; 
And  those  that  trouble  me  rejoice  when  I  am  moved. 

5  But  I  have  trusted  in  thy  mercy ; 

My  heart  shall  rejoice  in  thy  salvation. 

6  I  will  sing  unto  the  I^ord, 

Because  he  hath  dealt  bountifully  with  me. 


PSALM  XIII.  1-6. 


327 


This  psalm  of  David  is  supposed  to  have  been  composed  dur- 
ing the  Babylonish  captivity,  as  the  writer  speaks  of  great 
afflictions,  and  earnestly  implores  Jehovah,  in  whom  he  puts  his 
trust,  to  deliver  him.  There  is  an  allusion  to  music  in  the  last 
verse. 

/  will  sing, — The  original  is  a  derivative  of  ^/nr,  song. 
There  is  an  addition  to  the  last  verse  in  the  Septuagint,  the 
translation  of  which  is  :  Yea^  I  will  praise  the  name  of  the 
Lord  Most  High.  This  does  not  occur  in  any  Hebrew  manu- 
script (vid.  J.  A.  Alexander's  Com.  on  this  Ps).  In  psalm  xv. 
49,  sing  occurs  in  the  usual  sense. 

Psalm  xvi.  1-11. 

Michtam  of  David. 

1  Preserve  me,  0  God  ;  for  in  thee  do  I  put  my  trust. 

2  0  my  sold,  thoa  hast  said  unto  the  Lord, 
Thou  art  my  Lord  : 

My  goodness  extendeth  not  to  thee ; 

3  J^ut  to  the  saints  that  are  in  the  earth, 

And  to  the  excellent,  in  whom  is  all  my  delight. 

4  Their  sorrows  shall  be  multiplied  that  hasten  a/ter  an- 

other God : 

Their  drink-offerings  of  blood  will  I  not  offer. 
Nor  take  up  their  names  into  my  lips. 

5  The  Lord  is  the  portion  of  mine  inheritance  and  of  my 

cup  : 

Thou  maintainest  my  lot. 

6  The  lines  are  fallen  unto  me  in  pleassLnt places^ 
Yea,  I  have  a  goodly  heritage. 

7  I  will  bless  the  Lord  who  hath  given  me  counsel ; 
My  reins  also  instruct  me  in  the  night  seasons. 

8  I  have  set  the  Lord  always  before  me : 

Because  he  is  at  my  right  hand  I  shall  not  be  moved. 

9  Therefore  my  heart  is  glad  and  my  glory  rejoiceth ; 


828 


MIKTAM  EXPLAINED. 


My  flesh  also  shall  rest  in  hope  : 

10  For  thou  wilt  not  leave  my  soul  in  hell ; 

Neither  wilt  thou  suffer  thine  Holy  One  to  see  corrup- 
tion. 

11  Thou  wilt  show  me  the  path  of  life : 
In  thy  presence  is  fullness  of  joy  : 

At  thy  right  hand  there  are  pleasures  for  ever  more. 

This  psalm  is  called  Miktmn  (tDri^'o)  of  David,  and  is 

thought  to  have  been  composed  about  1044  B.  C.  The  term 
miktam  is  found  in  the  titles  of  five  other  psalms  (vid.  Psalms 
Ivi.,  Ivii.,  Iviii.,  lix.,  and  Ix),  and  appears  to  be  a  substitute  for 
psalm  or  song.  Aben-Ezra  and  other  critics  derive  it  from 
GSISj  hethem^  meaning  gold^  and  would  translate  the  term  golden 

psalm.  T.  H.  Horne  favors  the  opinion  which  he  derived  from 
D'Herbelot,  that  the  psalms  to  which  Miktam  is  attached  were 
so  called  on  account  of  having  been  written  on  some  occasion 
in  letters  of  gold,  and  hung  up  in  the  sanctuary  (Home's  Intro. 
P.  v.,  ch.  iii.,  sec.  ii.,  7— vol.  ii.,  p.  242,  Phil.  ed.).  The  LXX 
translate  the  word  by  I^T7]Xoypa(pLa,  sielogi-aphia,  signifying  in- 
scripiion,  supposing  the  psalm  to  have  been  engraved  on  a  monu- 
ment. Hengstenberg  thinks  that  it  means  mystery^  indicating  that 
the  psalms  to  which  it  is  prefixed  have  an  occult  meaning.  Prof. 
Alexander  supposes  that  it  "  probably  indicates  the  depth  of  doc- 
trinal and  spiritual  import  "  of  the  poems  to  which  it  is  prefixed. 
Gesenius  believes  that  the  final  letter  of  the  word  was  originally 
^,  and  was  gradually  changed  to  )2«  The  ancient  form  of  the  word 
appears  over  Hezekiah's  song,  in  Isa.  xxxviii.,  9.  Thus  the  word 
would  be  miktahh^  a  tvriiing,  a  poem,  a  song,  instead  of 

1D?1D?25  ^niktam.    Rosenmiiller,  Tholuck,  De  Wette,  and  others 

take  this  view,  which  is  probably  the  correct  one  ;  as  those  let- 
ters, by  the  carelessness  of  transcribers,  were  often,  in  ancient 
times,  interchanged  with  each  other.  There  is  no  allusion  to 
music  in  the  psalm. 


PSALMS  XVIII,  XX,  XXI. 


329 


Psalm  xviii. 

This  psalm  has  already  been  considered  in  our  remarks  on  II 
Sam.  xxii.  above,  to  which  the  reader  is  referred.  The  title  is 
a  lengthy  one,  presenting  simply  the  subject  of  the  psalm. 
There  is  an  allusion  to  music  in  the  49th  verse,  in  which  the 
term  sing  is  employed  similarly  to  its  use  in  previous  psalms. 

Psalm  xx. 

There  is  no  allusion  to  music  in  this  psalm,  excepting  the 
occurrence  of  the  word  Selah  in  the  third  verse,  probably  in 
the  sense  of  Halleluya. 

Psalm  xxi.  1-13. 

To  the  Chief  Musician.    A  Psalm  of  David, 

1  The  King  shall  joy  in  thy  strength,  0  Lord  ; 
And  in  thy  salvation  how  greatly  shall  he  rejoice ! 

2  Thou  hast  given  him  his  heart's  desire,  [Selah. 
And  hast  not  withholden  the  request  of  bis  lips. 

3  For  thou  preventest  him  with  the  blessings  of  good- 

ness ; 

Thou  settest  a  crown  of  pure  gold  on  his  head. 

4  He  asked  life  of  thee. 
And  thou  gavest  it  him, 

Even  length  of  days  for  ever  and  ever. 

5  His  glory  is  great  in  thy  salvation  : 
Honor  and  majesty  hast  thou  laid  upon  him. 

6  For  thou  hast  made  him  most  blessed  for  ever : 
Thou  hast  made  him  exceeding  glad  with  thy  counte- 
nance, 

T  For  the  king  trusteth  in  the  Lord  ; 

And,  through  the  mercy  of  the  Most  High,  he  shall 
not  be  moved. 


830  PSALM  OF  DAVID. 

8  Thme  hand  shall  find  out  all  thine  enemies  : 

Thj  right  hand  shall  find  out  those  that  hate  thee. 

9  Thou  shalt  make  them  as  a  fiery  oven  in  the  time  of 

thine  anger : 

The  Lord  shall  swallow  them  up  in  his  wrath,  and  the 
fire  shall  devour  them. 

10  Their  fruit  shalt  thou  destroy  from  the  earth, 
And  their  seed  from  among  the  children  of  men. 

11  For  they  intended  evil  against  thee  ; 

They  imagined  a  mischievous  device,  which  they  are 
not  able  lo  jperform. 

12  Therefore  shalt  thou  make  them  turn  their  back. 
When  thou  shalt  make  ready  thine  arrows  upon  thy 

strings,  against  the  face  of  them. 

13  Be  thou  exalted.  Lord,  in  thine  own  strength ; 
So  will  we  sing  and  praise  thy  power. 

This  psalm  represents  the  chosen  people  of  God  as  rendering 
thanksgiving  to  the  Great  Creator.  In  verse  2,  selah  occurs, 
probably  meaning  halleluya.  In  verse  13,  the  word  sing  occurs, 
but  in  the  usual  form. 

Psalm  xxii.  1-31. 

We  present  Herder's  translation  (Marsh's  Ed.). 

THE  SUFFERER. 

To  the  Chief  Musician^  at  the  Dawn  of  Morning.    A  Psalm  of 

Datid. 

1  My  God,  my  God  !  wherefore  dost  thou  forsake  me  ? 
Why  art  thou  far  from  helping  me,  and  from  my  cry  ? 

2  My  God,  by  day  I  call,  but  thou  hearest  not, 
I  cry  by  night,  and  find  no  time  of  rest ! 

3  And  yet  art  thou  the  adorable  one, 

Who  is  enthroned  amid  the  praises  of  Israel. 


PSALM  XXII.  1-31. 


331 


4  In  thee  our  fathers  trusted, 

They  trusted,  and  thou  didst  save  them, 

5  They  cried  to  thee,  and  were  dehvered, 
Trusted  in  thee,  and  were  not  confounded. 

6  But  I  am  but  a  worm,  and  no  man, 
Contemned  of  men,  the  people's  scorn. 

7  All  they  that  see  me,  scoff  at  me, 
They  pout  the  lips,  and  shake  the  head. 

8  "  He  calls  upon  Jehovah  ;  let  him  save  him, 
Let  him  deliver  him,  since  he  delights  in  him." 

9  Yet  thou  didst  take  me  from  my  mother's  womb, 
And  wast  my  hope  upon  my  mother's  breasts. 

10  While  laid  upon  the  lap,  I  hung  on  thee. 

And  from  my  mother's  womb  thou  wast  my  God  ! 

11  Be  therefore,  even  now,  not  far  from  me, 
For  trouble  comes,  and  there  is  none  to  help ! 

12  Many  bulls  have  compassed  me  about, 
Strong  bulls  of  Bashan  have  beset  me  round. 

13  They  rushed  with  open  mouth  upon  me. 
Like  ravening  and  roaring  lions. 

14  Like  water  am  I  poured  out, 
And  all  my  bones  are  loosed. 

My  heart  is  melted  like  wax  within  me, 

15  My  strength  dried  up  like  a  potsherd. 

My  tongue  too  cleaveth  to  the  roof  of  my  mouth, 
And  thou  hast  laid  me  in  the  dust  of  death. 

16  Dogs  have  encompassed  me  around. 
And  gangs  of  wicked  men  enclose  me, 
They  pierce  my  hands  and  feet. 

17  I  might  count  over  all  my  bones. 

They  see  it,  and  with  joy  they  gaze  upon  me. 

18  They  even  now  divide  my  garments. 
And  cast  lots  upon  my  vesture. 

19  But  be  not  thou,  Jehovah,  far  from  me. 


332  AFFLICTIONS  OF  THE  KIGHTEOUS. 


My  strong  deliverer,  haste  and  help  me, 

20  Deliver  my  life  from  the  sword. 
My  soul  from  the  power  of  the  dog. 

21  Rescue  me  from  the  lion's  mouth, 
And  save  me  from  the  bullock's  horns, 

22  Among  my  brethren  then  will  I  extol  thee, 
And  praise  thee  in  the  congregation. 

23  Ye,  that  fear  Jehovah,  praise  him  ! 
All  ye  offspring  of  Jacob,  glorify  him, 
And  reverence  him,  ye  seed  of  Israel, 

24  For  he  contemneth  not  nor  despiseth 
The  mournful  cry  of  the  afflicted. 
Nor  hath  he  hid  his  face  from  him, 
But  when  he  cried  to  him,  he  heard. 

25  My  song  shall  praise  thee  in  the  congregation, 
Before  thy  servants  will  I  pay  my  vows. 

26  Eat,  and  be  satisfied,  ye  humble  sufferers, 
Ye,  that  seek  him,  praise  Jehovah, 
Your  heart  shall  be  revived  forever, 

27  And  all  inhabitants  of  the  earth, 
Eemembering,  shall  turn  to  Jehovah, 
And  all  the  tribes  of  men  worship  him. 

28  For  to  Jehovah  doth  the  kingdom  pertain, 
And  he  is  ruler  among  the  nations. 

29  Let  them  that  eat  the  fat  of  the  earth  worship  him, 
And  them  that  are  humble,  bow  before  him. 
Whose  souls  are  vexed  with  care  ! 

SO  The  future  generations  shall  revere  him. 

And  shall  be  counted  as  his  people. 
31  They  come  to  make  his  kindness  known. 

And  what  he  hath  performed,  to  future  times ! 

This  Psalm  of  David  describes  a  righteous  person  in  deep 
aflliction  from  the  cruelties  of  his  foes.    His  final  deliverance 


PSALM  XXIV.  1-10 


833 


from  them  is  delineated,  and  its  effect  upon  others.  There  is 
an  affecting  allusion  to  the  vicarious  sufferings  of  Jesus  Christ. 
The  psalm  is  addressed,  in  the  title,  to  the  chief  musician  upon 
Ayyeleth  hashahhar  ("^ntlin  nb'^i^)^  signifying  hinds  of  the 

morning,  or,  as  Herder  translates  it,  at  the  dawn  of  morning. 
Harmer  supposes  that  these  terms  have  no  reference  to  musical 
instruments,  but  that  they  refer  to  the  tune,  in  accordance  with 
which  the  words  were  arranged.  Aben-Ezra  and  other  critics 
think  that  they  designate  a  song,  bearing  this  name  or  com- 
mencing with  it,  to  the  melody  of  which  the  psalm  was  to  be 
sung.  Tholuck  and  others  suppose  that  it  relates  to  the  sub- 
ject of  the  psalm.  Prof.  Alexander  takes  the  same  view. 
Gesenius  translates  it,  hind  of  the  daivn,  and  supposes,  with  the 
first  named  critics,  that  the  expression  indicates  the  name  of 
some  other  poem  or  song,  to  the  measure  of  which  this  psalm 
was  to  be  chanted.  This  seems  to  be  the  most  reasonable  con- 
clusion.   There  is  no  other  reference  in  it  to  music. 

Psalm  xxiv.  1-10. 

We  present  Herder's  translation  : 

The  Entrance  of  God  iijjon  Mount  Zion. 

1  All.       Jehovah's  is  the  earth  and  its  fullness, 

The  world  and  they  that  dwell  therein, 

2  For  he  bath  founded  it  upon  the  seas, 
He  hath  established  it  upon  the  floods. 

3  1.    "Who  shall  ascend  the  mountain  of  Jeho- 

vah? 

Who  dares  to  stand  in  his  most  holy  place  ? 

4  2.    He  that  hath  clean  bands,  and  a  pure  heart, 

That  hath  not  bound  his  soul  with  perfidy, 
ISTor  ever  sworn  deceitfully. 

5  He  shall  receive  a  blessing  from  Jehovah, 
The  approbation  of  his  guardian  God. 


334 


PARALLEL  LINES  GRADATIOXAL. 


6  1.    This  is  the  people,  that  seek  after  him, 

That  seek  thy  face,  0  God  of  Jacob. 

7  Chorus.  Lift  up  your  heads,  0  ye  gates. 

And  be  ye  lifted  up,  ye  everlasting  doors, 
For  the  king  of  glory  will  come  in. 

8  1.    Who  is  the  king  of  glory  ? 

Jehovah  strong  and  mighty, 
2.    Jehovah  mighty  in  battle. 

9  Chorus.  Lift  up  your  heads,  O  ye  gates, 

And  be  ye  lifted  up,  ye  everlasting  doors, 
For  the  king  of  glory  will  come  in. 
10  1.    Who  is  the  king  of  glory  ? 

Chorus.  Jehovah,  God  of  gods!  he  is  the  king  of 
glory. 

According  to  Herder's  arrangement,  the  whole  assembly 
perform  the  first  part  of  this  ode.  Then  a  single  person 
sings,  "  Who  shall  ascend,"  etc.  The  answer  is  performed  by 
two  voices.  Then  one  begins,  "  This  is  the  people,"  etc.  Next 
the  chorus  proclaims  :  "Lift  up  your  heads,"  etc.  One  then 
asks,  "  Who  is  the  king  of  glory  ? "  etc.  Then  follow  two 
voices,  and  then  the  chorus  again :  "  Lift  up  your  heads,"  etc. 
Finally  one  asks  :  "  Who  is  the  king  of  glory  ? "  and  the 
chorus  proclaim  the  answer.  Bishop  Jebb  presents  this  as  an 
instance  of  parallel  lines  gradational.  The  gradation  in  senti- 
ment is  ascending.  Whether  the  poem  was  performed  by  an- 
swering choirs,  as  Herder  thinks,  or  not,  we  have  no  means  of 
determining  with  certainty.  Its  recital  was  probably  accom- 
panied by  all  of  the  instruments  of  music  known  to  the  Israel- 
ites, as  the  occasion  was  an  important  one,  being  no  less  than 
the  removal  of  the  ark  of  the  covenant  to  Mount  Zion,  de- 
scribed in  II  Sam.  vi.  and  I  Chron.  xv  (vid.  Rem.  on  those 
passages). 

The  word  Selah  occurs  in  verses  6  and  10,  probably  in  the 
sense  of  halleluyah. 


PSALZVr  XXV.  1-22. 


335 


Psalm  xxv.  1-22. 

A  Psalm  of  David. 

1  Unto  thee,  0  Lord,  do  I  lift  up  mj  soul. 

2  0  my  God,  I  trust  in  thee  : 
Let  me  not  be  ashamed  ; 

Let  not  mine  enemies  triumph  over  me. 

3  Yea,  let  none  that  wait  on  thee  be  ashamed, 

Let  them  be  ashamed  which  transgress  without  cause. 

4  Show  me  thy  waj^s,  0  Lord  ; 
Teach  me  thy  paths. 

5  Lead  me  in  thy  truth,  and  teach  me  ; 
For  thou  art  the  God  of  my  salvation  : 
On  thee  do  I  wait  all  the  day. 

6  Remember,  0  Lord,  thy  tender  mercies, 
And  thy  loving-kindnesses ; 

For  they  have  been  ever  of  old. 

7  Remember  not  the  sins  of  my  youth,  nor  my  trans- 

gressions : 

According  to  thy  mercy,  remember  thou  me, 
For  thy  goodness'  sake,  0  Lord. 

8  Good  and  upright  is  the  Lord  : 
Therefore  will  he  teach  sinners  in  the  way. 

9  The  meek  will  he  guide  in  judgment, 
And  the  meek  will  he  teach  his  way. 

10  All  the  paths  of  the  Lord  are  mercy  and  truth 
Unto  such  as  keep  his  covenant  and  his  testimonies. 

11  For  thy  name's  sake,  0  Lord, 
Pardon  mine  iniquity  ;  for  it  is  great. 

12  AVhat  man  is  he  that  feareth  the  Lord  ? 

Him  shall  he  teach  in  the  way  that  he  shall  choose : 

13  His  soul  shall  dwell  at  ease  ; 

And  his  seed  shall  inherit  the  earth. 
1-1  The  secret  of  the  Lord  is  with  them  that  fear  him  : 


836 


ALPHABETICAL  PSALM. 


And  he  will  show  them  his  covenant. 

15  Mine  eyes  are  ever  toward  the  Lord  : 
For  he  shall  pluck  my  feet  out  of  the  net. 

16  Turn  thee  unto  me,  and  have  mercy  upon  me : 
For  I  am  desolate  and  afflicted. 

17  The  troubles  of  my  heart  are  enlarged  ; 
0  bring  thou  me  out  of  my  distresses. 

18  Look  upon  mine  affliction  and  my  pain ; 
And  forgive  all  my  sins. 

19  Consider  mine  enemies  :  for  they  are  many, 
And  they  hate  me  with  cruel  hatred. 

20  0  keep  my  soul,  and  deliver  me  : 
Let  me  not  be  ashamed  ; 

For  I  put  my  trust  in  thee. 

21  Let  integrity  and  uprightness  preserve  me ; 
For  I  wait  on  thee. 

22  Kedeem  Israel,  0  God,  out  of  all  his  troubles. 

David  here  seeks  deliverance  from  his  enemies,  and  implores 
pardon  for  his  own  sins.  This  is  the  first  of  the  alphabetical 
psalms.  The  others  are  the  xxxiv.  xxxvii.  cxi.  cxii.  cxix.  and 
cxlv.  Also  Prov.  xxxi.  10-31,  and  Lam.  i.  ii.  iii.  iv.,  are  of 
the  same  character.  This  species  of  poetry  consists  of  twenty- 
two  lines,  says  Lowth,  or  twenty-two  systems  of  lines,  periods, 
or  stanzas,  corresponding  with  the  number  of  the  Hebrew  al- 
phabet. Every  line,  or  every  stanza,  begins  with  each  letter, 
generally  in  the  order  in  which  it  stands  in  the  alphabet.  It  is 
thought  that  the  object  of  this  arrangement  was  to  assist  the 
memory,  as  the  alphabetical  psalms  are  composed  of  detached 
sentences  or  aphorisms  on  moral  and  religious  subjects. 
Psalms  cxi.  cxii.  and  Lam.  iii.  are  perfectly  alphabetical,  every 
line  being  marked  by  a  letter  of  the  alphabet  in  its  regular 
order.  The  others  are  imperfectly  so,  every  stanza  only  com- 
mencing with  a  letter  of  the  alphabet  in  its  regular  order.  Psalm 
XXV.  consists  of  stanzas  of  two  lines  each.    Psalms  xxxiv.  cxix. 


PSALM  XXX.  1-12. 


33T 


cxlv.,  Prov.  xxxi.,  and  Lam.  iv.,  are  arranged  in  a  similar  man- 
ner. These  stanzas  are  divided  each  into  lines,  as  is  evident 
from  the  sense.  The  first  line  or  first  stanza  of  the  poem,  be- 
gins with  Aleph  (jj^),  the  second  with  Beth  (^),and  so  oii  in  the 
order  of  the  alphabet.  In  the  psalm  under  consideration,  the 
first  two  verses  begin  with  Aleph  (^),  the  third  verse  with 
Gemel  (^),  passing  over  Beth,  the  second  letter  of  the  alphabet. 
Verse  fourth  begins  with  Daleth  (^),  and  so  on.  Verses  18 
and  19  begin  with  the  same  letter  [Besh 

Psalm  xxx.  1-12. 

A  Psalm  and  a  Song  at  the  Dedication  of  the  home  of  David. 

1  I  will  extol  tbee,  0  Lord ; 
For  thou  bast  lifted  me  up, 

And  bast  not  made  mj  foes  to  rejoice  over  me. 

2  0  Lord  my  God,  I  cried  unto  tbee,  and  thou  hast 

bealed  me. 

3  0  Lord,  tbou  bast  brougbt  up  my  soul  from  tbe  grave ; 
Tbou  bast  kept  me  alive,  that  I  sbould  not  go  down 

to  tbe  pit. 

4  Sing  unto  tbe  Lord,  0  ye  saints  of  bis. 

And  give  thanks  at  tbe  remembrance  of  his  holiness. 
5-  For  his  anger  endureth  hut  a  moment ;  i 
In  bis  favor  is  life : 
Weeping  may  endure  for  a  night, 
But  joy  Cometh  in  the  morning. 

6  And  in  my  prosperity  I  said,  I  shall  never  be  moved. 

7  Lord,  by  thy  favor  thou  hast  made  my  mountain  to 

stand  strong : 
Thou  didst  hide  thy  face,  and  I  was  troubled. 

8  I  cried  to  tbee,  0  Lord ; 

And  unto  the  Lord  I  made  supplication. 

9  What  profit  is  there  in  my  blood,  when  I  go  down  to 

the  pit  ? 

15 


83d 


DEDICATOKY  PSALM. 


Shall  the  dust  praise  thee?  shall  it  declare  thy  truth? 

10  Hear,  0  Lord,  and  have  mercy  upon  me : 
Lord,  be  thou  my  helper. 

11  Thou  hast  turned  for  me  my  mourning  into  dancing : 
Thou  hast  put  off  my  sackcloth,  and  girded  me  with 

gladness ; 

12  To  the  end  that  my  glory  may  sing  praise  to  thee,  and 

not  be  silent. 

0  Lord  my  God,  I  will  give  thanks  unto  thee  forever. 

The  title  of  this  psalm  seems  to  indicate  that  it  was  pre- 
pared with  special  reference  to  the  dedication  of  the  house  or 
altar  of  God,  referring,  probably,  to  the  place  which  David  pur- 
chased (vid.  II  Sam.  xxiv ;  I  Chron.  xxi),  and  on  which  he 
erected  an  altar  for  sacrifice.  It  was  the  spot  on  which  the 
temple  was  subsequently  built.  The  psalmist  praises  God  for 
his  deliverance  from  ruin,  and  calls  upon  others  to  join  in  as- 
criptions of  adoration. 

Verse  4.  Sing. — The  writer,  in  this  verse,  calls  upon  the 
righteous  to  sing  praises  to  God.  There  is  nothing  peculiar  in 
the  expression. 

Verse  \\.    Dancing. — The  Hebrew  term  is  ^"jH/S  mahhol. 

Another  form  of  the  word  is  used  in  Ex.  xv.  20.  In  the  last 
verse  the  word  sing  is  used  in  a  similar  manner  as  in  verse  4. 

Psalm  xxxii.  1-11. 

A  Psalm  of  David.  Maschll. 

1  Blessed  is  he  whose  transgression  is  forgiven, 
Whose  sin  is  covered. 

2  Blessed  is  the  man  unto  whom  the  Lord  imputetb  not 

iniquity, 

And  in  whose  spirit  there  is  no  guile. 

3  When  I  kept  silence,  my  bones  waxed  old 
Through  my  roaring  all  the  day  long, 


PSALM  XXXII.  1-11. 


339 


4  (For  day  and  night  thy  hand  was  heavy  upon  me) 
My  moisture  is  turned  into  the  drought  of  summer. 

Selah. 

5  I  acknowledged  my  sin  unto  thee; 
And  mine  iniquity  have  I  not  hid. 

I  said,  I  will  confess  my  transgressions  unto  the  Lord : 
And  thou  forgavest  the  iniquity  of  my  sin.  Selah. 

6  For  this  shall  every  one  that  is  godly 

Pray  unto  thee,  in  a  time  when  thou  mayest  be  found ; 
Surely  in  the  floods  of  great  waters,  they  shall  not 
couie  nigh  unto  him. 

7  Thou  art  my  hiding-place ; 

Thou  shalt  preserve  me  from  trouble : 
Thou  shalt  compass  me  about  with  songs  of  deliver- 
ance. Selah. 

8  I  will  instruct  thee,  and  teach  thee  in  the  way  which 

thou  shalt  go  ; 
I  will  guide  thee  with  mine  eye. 

9  Be  ye  not  as  the  horse,  or  as  the  mule. 
Which  have  no  understanding ; 

Whose  mouth  must  be  held  in  with  bit  and  bridle, 
Lest  they  come  near  unto  thee. 

10  Many  sorrows  shall  he  to  the  wicked : 

Bat  he  that  trusteth  in  the  Lord,  mercy  shall  compass 
him  about. 

11  Be  glad  in  the  Lord,  and  rejoice,  ye  righteous : 
And  shout  for  joy,  all  ye  that  are  upright  in  heart. 

A  contrast  is  made  in  this  psalm  between  the  lamentable 
condition  of  the  sinner  while  unpardoned,  and  his  happy  state 
when  forgiven.  The  term  Maskil  (5'^3tD?2)  occurs  in  the 
title.  The  same  word  is  employed  in  eleven  other  psalms  (vid. 
Ps.  xxxii,  xlii,  xliv,  lii,  liii,  liv,  Iv,  Ixxiv,  Ixxviii,  Ixxxix,  cxliii). 
It  is  a  participial  noun  in  the  Hiphil  conjugation,  signifying 


340 


MASKIL  EXPLAINED. 


poem,  song.  It  is  derived  from  J^'jjj  salcal,  to  look  at,  to  he- 
hold.  IIovT"  the  term  came  to  signify  song,  is  uncertain.  Gese- 
nius  supposes  that  it  originally  indicated  a  didactic  song,  and 
subsequently  different  kinds  of  verse.  De  Wette,  Calmet,  and 
others  take  a  similar  view.  Hengstenberg,  Tholuck,  and  others 
maintain  that  it  signifies  a  didactic  poem ;  but  they  derive  it 
from  i'n^tori  haskil,  to  teach,  to  make  wise.  Kosenmiiller  con- 
siders it  as  a  generic  term  for  a  particular  kind  of  poem,  though 
he  agrees  with  Calmet  in  respect  to  its  use  in  this  psalm.  The 
word  selah  occurs  in  verse  4,  probably  in  the  sense  of  silence, 
and  in  verses  5  and  7  in  the  sense  of  halleluyah. 

.  Shout  (v.  11) — a  general  expression  of  rejoicing  without  any 
particular  reference  to  music. 

Psalm  xxxiii.  1-22. 

1  Eejoice  in  the  Lord,  0  ye  righteous; 
For  praise  is  comely  for  the  upright. 

2  Praise  the  Lord  with  harp ; 

Sing  unto  him  with  the  psaltery,  and  an  instrument  of 
ten  strings. 

3  Sing  unto  him  a  new  song; 
Play  skillfully  with  a  loud  noise ; 

4  For  the  word  of  the  Lord  is  right ; 
And  all  his  works  are  done  in  truth. 

5  He  loveth  righteousness  and  judgment; 

The  earth  is  full  of  the  goodness  of  the  Lord. 

6  By  the  word  of  the  Lord  were  the  heavens  made ;  ' 
And  all  the  host  of  them  by  the  breath  of  his  mouth. 

7  He  gather eth  the  waters  of  the  sea  together  as  an  heap  ; 
He  layeth  up  the  depth  in  storehouses. 

8  Let  all  the  earth  fear  the  Lord  ; 

Let  all  the  inhabitants  of  the  world  stand  in  awe  of  him : 

9  For  he  spake,  and  it  was  done  / 


PSALM  XXXIir.  1-22. 


341 


He  commanded,  and  it  stood  fast. 

10  The  Lord  bringeth  the  counsel  of  the  heathen  to 

nought: 

He  maketh  the  devices  of  the  people  of  none  effect. 

11  The  counsel  of  the  Lord  standeth  for  ever, 
The  thoughts  of  his  heart  to  all  generations. 

12  Blessed  is  the  nation  whose  God  is  the  Lord ; 

And  the  people  whom  he  hath  chosen  for  his  own  in- 
heritance. 

13  The  Lord  looketh  from  heaven  ; 
He  beholdeth  all  the  sons  of  men. 

14  From  the  place  of  his  habitation  he  looketh. 
Upon  ail  the  inhabitants  of  the  earth. 

15  He  fashioneth  their  hearts  alike ; 
He  considereth  all  their  works. 

16  There  is  no  king  saved  by  the  multitude  of  an  host ; 
A  mighty  man  is  not  delivered  by  much  strength. 

17  An  horse  is  a  vain  thing  for  safety : 

Neither  shall  he  deliver  any  by  his  great  strength. 

18  Behold,  the  eye  of  the  Lord  is  upon  them  that  fear 

him. 

Upon  them  that  hope  in  his  mercy ; 

19  To  deliver  their  soul  from  death, 
And  to  keep  them  alive  in  famine. 

20  Our  soul  waiteth  for  the  Lord  ; 
He  is  our  help  and  our  shield. 

21  For  our  heart  shall  rejoice  in  him ; 
Because  we  have  trusted  in  his  holy  name. 

22  Let  thy  mercy,  0  Lord,  be  upon  us, 
According  as  we  hope  in  thee. 

This  psalm  is  intimately  connected  with  the  preceding,  and 
enlarges  upon  the  closing  sentiment  of  that  poem,  thus  furnish- 
ing a  reason  why  no  title  is  prefixed  in  the  Hebrew  text.  The 


TEN-STRINGED  LYRE. 


LXX  ascribe  it  to  David.  Its  object  seems  to  be  to  excite 
confidence  in  God. 

Harp  (v.  2). — This  is  the  Mnnor  mentioned  in  Gen  iv.  21,  for 
a  full  explanation  of  which  vid.  remarks  above  on  that  passage. 
Cithara  is  used  in  the  Septuagint. 

Psaltery  (v.  2). — This  is  the  nehhel  which  occurs  in  I  Sam. 
X.  5,  and  II  Sam.  vi.  5.    The  LXX  use  psalterion,  psaltery. 

All  instrument  of  ten  strings. — Gesenius  supposes  that 
"^ItD^^  asor,  translated  an  instrument  of  ten  strings  in  our  Eng- 

T 

lish  version,  is  to  be  taken  with  ^IQD  nebhel,  and  that  they  mean 

a  ten-stringed  lyre.  The  LXX  translate  it  ten-stringed  psaltery 
(vid.  Rem  on  I  Sam.  x.  5.  supra,  where  it  is  shown  that  the 
nehhel  was  probably  a  kind  of  guitar). 

Sing — a  neiu  song — play  skillfully  with  a  loud  noise  (v.  3). — 
The  usual  term  for  song  and  sing  (shir)  is  used  as  in  Ex.  xv.  i. 
The  original  for  play  means  to  do  good,  and  sometimes  to  be  joy- 
ful, to  play.  The  whole  verse  is  intended  as  an  expression  of 
joy  and  praise. 

In  Psalm  xxxv.  27  the  word  shout  is  used,  but  with  no  par- 
ticular reference  to  music. 

Psalm  xxxvii.  1-40. 

A  Psalm  of  David. 

1  Fret  not  thyself  because  of  evil-doers, 

Neither  be  thou  envious  against  the  workers  of  in- 
iquity. 

2  For  they  shall  soon  be  cut  down  like  the  grass, 
And  wither  as  the  green  herb. 

3  Trust  in  the  Lord,  and  do  good  ; 

So  sbalt  tbou  dwell  in  the  land,  and  verily  thou  shalt 
be  fed. 

4  Delight  thyself  also  in  the  Lord ; 

And  he  shall  give  thee  the  desires  of  thine  heart. 


PSALM  XXXVII.  1-40.  343 

• 

5  Commit  ihj  way  unto  the  Lord ; 

Trust  also  in  him,  and  he  shall  bring  it  to  pass. 

6  And  he  shall  bring  forth  thy  righteousness  as  the  light, 
And  thy  judgment  as  the  noon-day. 

7  Kest  in  the  Lord,  and  wait  patiently  for  him : 

Fret  not  thyself  because  of  him  who  prospereth  in  his 
way, 

Because  of  the  man  who  bringeth  wicked  devices  to 
pass. 

8  Cease  from  anger,  and  forsake  wrath  ; 
Fret  not  thyself  in  any  wise  to  do  evil. 

9  For  evil-doers  shall  be  cut  oflf : 

But  those  that  wait  upon  the  Lord,  they  shall  inherit 
the  earth. 

10  For  yet  a  little  while,  and  the  wicked  shall  not  he : 
Yea,  thou  shall  diligently  consider  his  place,  and  it 

shall  not  he, 

11  But  the  meek  shall  inherit  the  earth  ; 

And  shall  delight  themselves  in  the  abundance  of 
peace. 

12  The  wicked  plotteth  against  the  just, 
And  gnasheth  upon  him  with  his  teeth. 

13  The  Lord  shall  laugh  at  him  : 

For  he  seeth  that  his  day  is  coming. 
14:  The  wicked  have  drawn  out  the  sword, 
And  have  bent  their  bow, 
To  cast  down  the  poor  and  needy, 
A7id  to  slay  such  as  be  of  upright  conversation. 

15  Their  sword  shall  enter  into  their  own  heart. 
And  their  bows  shall  be  broken. 

16  A  little  that  a  righteous  man  hath 

Is  better  than  the  riches  of  many  wicked. 

17  For  the  arms  of  the  wicked  shall  be  broken : 
But  the  Lord  upholdeth  the  righteous. 


344  ALPHABETICAL  POEM. 

18  The  Lord  knoweth  the  days  of  the  upright: 
And  their  inheritance  shall  be  forever. 

19  They  shall  not  be  ashamed  in  the  evil  time. 
And  in  the  days  of  famine  they  shall  be  satisfied. 

20  But  the  wicked  shall  perish, 

And  the  enemies  of  the  Lord  shall  le  as  the  fat  of 
lambs : 

They  shall  consume;  into  smoke  shall  they  consume 
away. 

21  The  wicked  borroweth,  and  payeth  not  again : 
But  the  righteous  showeth  mercy,  and  giveth. 

22  For  such  as  he  blessed  of  him  shall  inherit  the  earth ; 
And  they  that  he  cursed  of  him  shall  be  cut  off. 

23  The  steps  of  a  good  man  are  ordered  by  the  Lord : 
And  he  delighteth  in  his  way. 

24  Though  he  fall,  he  shall  not  be  utterly  cast  down : 
For  the  Lord  upholdeth  him  with  his  hand. 

25  I  have  been  young,  and  now  am  old  ; 

Yet  have  I  not  seen  the  righteous  forsaken, 
Nor  his  seed  begging  bread. 

26  He  is  ever  merciful,  and  lendeth ; 
And  his  seed  is  blessed. 

27  Depart  from  evil,  and  do  good ; 
And  dwell  for  evermore. 

28  For  the  Lord  loveth  judgment, 
And  forsaketh  not  his  saints ; 
They  are  preserved  for  ever : 

But  the  seed  of  the  wicked  shall  be  cut  off. 

29  The  righteous  shall  inherit  the  land, 
And  dwell  therein  for  ever. 

30  The  mouth  of  the  righteous  speaketh  wisdom, 
And  his  tongue  talketh  of  judgment. 

31  The  law  of  his  God  is  in  his  heart ; 
None  of  his  steps  shall  slide. 


PSALM  XXXIX.  1-13. 


345 


32  The  wicked  watchetli  the  righteous, 
And  seeketh  to  slay  him. 

33  The  Lord  will  not  leave  him  in  his  hand, 
Nor  condemn  him  when  he  is  judged. 

34  Wait  on  the  Lord,  and  keep  his  way, 
And  he  shall  exalt  thee  to  inherit  the  land : 
When  the  wicked  are  cut  off,  thou  shalt  see  it. 

35  I  have  seen  the  wicked  in  great  power. 

And  spreading  himself  like  a  green  bay-tree: 

36  Yet  he  passed  away,  and  lo,  he  was  not ; 
Yea,  I  sought  him,  but  he  could  not  be  found. 

37  Mark  the  perfect  7nan^  and  behold  the  upright : 
For  the  end  of  that  man  is  peace. 

38  But  the  transgressors  shall  be  destroyed  together; 
The  end  of  the  wicked  shall  be  cut  off. 

39  But  the  salvation  of  the  righteous  is  of  the  Lord ; 
S[e  is  their  strength  in  the  time  of  trouble. 

40  And  the  Lord  shall  help  them,  and  deliver  them : 

He  shall  deliver  them  from  the  wicked,  and  save  them, 
Because  they  trust  in  him. 

This  is  an  alphabetical  poem  like  psalm  xxv.,  describing  the 
sinner  as  a  self-destroyer,  and  assuring  the  righteous  that  he 
need  not  fear  from  his  enemies  as  God  will  sustain  him.  The 
psalm  much  resembles  the  hook  of  proverbs  from  its  aphoris- 
tic character,  and  may  have  been  the  model,  Prof.  Alexander 
thinks,  according  to  which  that  book  was  constructed.  There 
is  no  allusion  to  music  in  the  psalm. 

Psalm  xxxix.  1-13. 

To  the  Chief  Musician^  even  to  Jeduthun.    A  Psalm  of  David. 

1  I  said,  I  will  take  heed  to  my  ways,  that  I  sin  not  with 
my  tongue : 


846 


PSALM  OF  DAVID. 


I  will  keep  my  mouth  with  a  bridle, 
While  the  wicked  is  before  me. 

2  I  was  dumb  with  silence,  I  held  my  peace, 
Even  from  good  :  and  my  sorrow  was  stirred. 

3  My  heart  was  hot  within  me, 
"While  I  was  musing  the  fire  burned  : 
Then  spake  I  with  my  tongue. 

4  Lord,  make  me  to  know  mine  end, 

And  the  measure  of  my  days,  what  it  is  / 
That  I  may  know  how  frail  I  am. 

5  Behold,  thou  hast  made  my  days  as  an  hand-breadth ; 
And  mine  age  is  as  nothing  before  thee: 

Yerily  every  man  at  his  best  state  is  altogether  vanity. 

Selah. 

6  Surely  every  man  walketh  in  a  vain  show: 
Surely  they  are  disquieted  in  vain ; 

He  heapeth  up  riches^  and  knoweth  not  who  shall 
gather  them. 

7  And  now.  Lord,  what  wait  I  for  ? 
My  hope  is  in  thee. 

8  Deliver  me  from  all  my  transgressions  : 
Make  me  not  the  reproach  of  the  foolish. 

9  I  was  dumb,  I  opened  not  my  mouth. 
Because  thou  didst  it. 

10  Remove  thy  stroke  away  from  me : 

I  am  consumed  by  the  blow  of  thine  hand. 

11  When  thou  with  rebukes  dost  correct  man  for  iniquity, 
Thou  makest  his  beauty  to  consume  away  like  a  moth : 
Surely  every  man  is  vanity.  Selah. 

12  Hear  my  prayer,  0  Lord, 
And  give  ear  unto  my  cry  ; 
Hold  not  thy  peace  at  my  tears : 
For  I  am  a  stranger  with  thee. 

And  a  sojourner,  as  all  my  fathers  were. 


I 


PSALM  XLII.  1-11.  347 

13  0  spare  me,  that  I  may  recover  strength, 
Before  I  go  hence  and  be  no  more. 

The  psalmist  here  expresses  his  past  and  present  feelings  in 
respect  to  the  providences  of  God.  David  composed  this  poem 
for  the  chief  musician  named  Jeduthun,  signifying  praise-giver. 
Jeduthun,  Asaph,  Heman,  and  Ethan  were  the  king's  leading 
musicians  or  choristers.  None  but  the  Levites  were  allowed 
to  sing,  or  play  on  instruments  of  music,  in  the  tabernacle  or 
temple.  Those  who  belonged  to  other  tribes  were  permitted, 
on  secular  occasions,  though  not  in  the  temple,  to  use  all  kinds 
of  musical  instruments,  excepting  the  silver  trumpets,  which 
the  priests  only  could  blow.  The  Hebrew  monarchs  also  had 
their  private  music.  Asaph  was  master  of  David's  royal  band 
of  musicians.  Two  other  psalms  seem  to  have  been  composed 
for  Jeduthun  (vid.  Ps.  Ixii.  and  Ixxvii). 

In  verses  5  and  11  the  word  selah  is  used,  probably  meaning 
silence. 

In  psalm  xl.  the  usual  term  (shir)  is  employed  and  translated 
song. 

PSAI^I  xlii.  1-11. 

To  the  Chief  Musician,  Maschil,  for  the  Sons  of  Korah, 

1  As  the  hart  panteth  after  the  water-brooks, 
So  panteth  my  soul  after  thee,  0  God. 

2  My  soul  tbirsteth  for  God,  for  the  living  God : 
When  shall  I  come  and  appear  before  God  ? 

3  My  tears  have  been  my  meat  day  and  night, 

While  they  continually  say  unto  me,  Where  is  thy 
God? 

4  When  I  remember  these  things^  I  pour  out  my  soul  in 

me : 

For  I  had  gone  with  the  multitude, 
I  went  with  them  to  the  house  of  God, 


348 


SONG  OF  THE  SONS  OF  KORAH. 


Witli  the  voice  of  joj  and  praise, 
With  a  multitude  that  kept  holy-daj. 

5  Why  art  thou  cast  down,  0  my  soul  ? 
And  why  art  thou  disquieted  in  me  ? 

Hope  thou  in  God  :  for  I  shall  yet  praise  him 
For  the  help  of  his  countenance. 

6  0  my  God,  my  soul  is  cast  down  within  me  : 
Therefore  will  I  remember  thee  from  the  land  of  Jordan, 
And  of  the  Hermonites,  from  the  hill  Mizar. 

V  Deep  calleth  unto  deep  at  the  noise  of  thy  water- 
spouts : 

All  thy  waves  and  thy  billows  are  gone  over  me. 

8  ITet  the  Lord  w^ill  command  his  loving-kindness  in 

the  day-time. 
And  in  the  night  his  song  shall  he  with  me. 
And  my  prayer  unto  the  God  of  my  life. 

9  I  will  say  unto  God  my  rock,  Why  hast  thou  forgotten 

me  ? 

Why  go  I  mourning  because  of  the  oppression  of  the 
enemy  ? 

10  As  with  a  sword  in  my  bones,  mine  enemies  reproach 

me ; 

While  they  say  daily  unto  me,  Where  is  thy  God  ? 

11  Why  art  thou  cast  down,  0  my  soul? 
And  why  art  thou  disquieted  within  me  ? 
Hope  thou  in  God :  for  I  shall  yet  praise  him, 
Who  is  the  health  of  my  countenance,  and  my  God. 

This  psalm  is  ascribed  to  the  Sons  of  Korah.  Prof.  Alexan- 
der supposes  that  they  did  not  compose  the  poem,  being  merely 
"  performers  "  of  it,  but  that  David  was  the  writer,  as  the  ex- 
perience of  that  monarch  is  evidently  described,  and  probably 
that  part  of  his  experience  which  transpired  when  he  was  ex- 
cluded from  the  sanctuary  on  account  of  Absalom's  rebellion. 
Calmet  thinks  that  it  was  composed  during  the  captivity.  We 


PSALM  XLIII.  1-5. 


349 


are  inclined  to  believe,  with  Rosenmiiller  and  other  eminent 
critics,  that  it  was  written  by  one  of  the  sons  of  Korah,  as  the 
title  indicates.  The  expression  by  the  Sons  of  Korah  ^  is  entirely- 
separate  ifom  chief  musician^  and  is  in  the  place  which  the 
author's  name  usually  occupies. 

This  is  the  first  sacred  song  ascribed  to  the  sons  of  Korah. 
The  forty-one  psalms  preceding  were  evidently  from  David's 
pen.  Others  which  follow  are  obviously  his  composition.  Sev- 
enty-one psalms  in  all  are  ascribed  to  him  in  the  Hebrew  text, 
and  eleven  others  in  the  Septuagint ;  but  not  all  which  bear  his 
name  were  really  composed  by  him,  and  some  which  do  not  bear 
his  name  are  obviously  his  composition.  Calmet,  after  a  care- 
ful examination,  concludes  that  forty -five  were  written  by  that 
monarch.  The  Sons  of  Korah  were  Levites,  employed  in  the 
temple  music.  Prof  Stuart  supposes  that  they  were  descend- 
ants of  that  Korah  who  was  destroyed  in  the  rebellion  described 
in  Num.  xvi.,  some  of-  whose  posterity  presided  over  the  tab- 
ernacle music.  Overseers  of  the  tabernacle  are  mentioned  by 
that  name  (vid.  Num.  xvi.  8 ;  I  Chron.  vi.  22,  37  ;  ix.  19 ; 
xxvi.  1  ;  II  Chron.  xx.  19).  This  poem  is  designated  as  a 
MashiJ,,  or  didactic  psalm,  being  intended  for  permanent  use. 

The  only  allusion  to  music  is  in  the  eighth  verse  (ninth  in 
Hebrew,  the  title  being  reckoned  as  one  verse),  where  the 
usual  term  for  song  is  employed. 

Psalm  xliii.  1-5. 

1  Judge  me,  0  God,  and  plead  my  cause  against  an  un- 

godly nation  : 
O  deliver  me  from  the  deceitful  and  unjust  man. 

2  For  thou  art  the  God  of  my  strength : 
Why  dost  thou  cast  me  off? 

Why  go  I  mourning  because  of  the  oppression  of  the 
enemy  ? 

3  0  send  out  thy  light  and  thy  truth  : 


SORROWS  OF  THE  RIv^xHTEOUS. 


Let  them  lead  me  ; 

Let  them  bring  me  unto  thy  holy  hill,  and  to  thy  tab- 
ernacles. 

4  Then  will  I  go  unto  the  altar  of  God,  • 
Unto  God  my  exceeding  joy ; 

Yea,  upon  the  harp  will  I  praise  thee,  0  God  my  God, 

5  Why  art  thou  cast  down,  0  my  soul  ? 
And  why  art  thou  disquieted  within  me  ? 
Hope  in  God :  for  I  shall  yet  praise  him. 

Who  is  the  health  of  my  countenance,  and  my  God. 

This  and  the  preceding  psalm  are  united  into  one  poem  in 
more  than  thirty  Hebrew  manuscripts.  The  two  compositions 
closely  resemble  each  other,  and  the  most  probable  opinion  is 
that  the  latter  is  supplementary  to  the  former,  and  composed 
by  the  same  individual  who  wrote  that.  Hence  the  omission 
of  the  title.  The  subject  of  the  psalm  is  the  description  of  a 
person  in  sorrow,  seeking  deliverance  from  his  enemies. 

JIarp  (v.  4). — This  is  the  Kinnor  probably  the 

instrument  on  which  David  played  so  beautifully.  The  same 
term  occurs  in  Gen.  iv.  21,  in  our  remarks  upon  which,  above,  it 
is  particularly  explained ;  also  in  our  remarks  on  I  Sam.  x. 
5  ;  I  Kings,  x.  12.    It  is  translated  ciihara  in  the  Septuagint. 

Psalm  xliv.  1-26. 

To  the  Chief  Musician  for  the  Sons  of  Korah. 

1  "We  have  heard  with  our  ears,  0  God,  our  fathers  have 

told  us. 

What  work  thou  didst  in  their  days,  in  the  times  of  old. 

2  How  thou  didst  drive  out  the  heathen  with  thy  hand, 

and  plantedst  them ; 
How  thou  didst  afflict  the  people  and  cast  them  out. 

3  For  they  got  not  the  land  in  possession  by  their  own 

sword. 


PSALM  XLIV.  1-26. 


351 


Neither  did  their  own  arm  save  them ; 
But  thy  right  hand,  and  thine  arm, 
And  the  light  of  thy  countenance,  because  thou  hadst 
a  favor  unto  them. 

4  Thou  art  my  king,  0  God  : 
Command  deliverances  for  Jacob. 

5  Through  thee  will  we  push  down  our  enemies  : 
Through  thy  name  we  will  tread  them  under  that  rise 

up  among  us. 

6  For  I  will  not  trust  in  my  bow, 
Neither  shall  my  sword  save  me. 

7  But  thou  hast  saved  us  from  our  enemies, 
And  hast  put  them  to  shame  that  hated  us. 

8  In  God  we  boast  all  the  day  long. 

And  praise  thy  name  forever.  Selah. 

9  But  thou  hast  cast  off,  and  put  us  to  shame  : 
And  goest  not  forth  with  our  armies. 

10  Thou  makest  us  to  turn  back  from  the  enemy : 
And  they  which  hate  us  spoil  for  themselves. 

11  Thou  hast  given  us  like  sheep  appointed  for  meat ; 
And  hast  scattered  us  among  the  heathen. 

12  Thou  sellest  thy  people  for  nought, 

And  dost  not  increase  thy  wealth  by  their  price. 

13  Thou  makest  us  a  reproach  to  our  neighbors, 

A  scorn  and  a  derision  to  them  that  are  round  about  us. 

14  Thou  makest  us  a  byword  among  the  heathen, 
A  shaking  of  the  head  among  the  people. 

15  My  confusion  is  continually  before  me, 
And  the  shame  of  my  face  hath  covered  me, 

16  For  the  voice  of  him  that  reproacheth  and  blas- 

phemeth  ; 
By  reason  of  the  enemy  and  avenger. 

17  All  this  is  come  upon  us ;  yet  have  we  not  forgotten  thee, 
Neither  have  we  dealt  falsely  in  thy  covenant. 


852 


A  DIDACTIC  POEM. 


18  Our  heart  is  not  turned  back, 

Neither  have- our  steps  declined  from  thy  way  ; 

19  Though  thou  hast  sore  broken  us  in  the  place  of  dragons, 
And  covered  us  with  the  shadow  of  death. 

20  If  we  have  forgotten  the  name  of  our  God, 
Or  stretched  out  our  hands  to  a  strange  god  ; 

21  Shall  not  God  search  this  out? 

For  he  knoweth  the  secrets  of  the  heart. 

22  Yea,  for  thy  sake  are  we  killed  all  the  day  long ; 
We  are  counted  as  sheep  for  the  slaughter. 

23  Awake,  why  sleepest  thou,  0  Lord  ? 
Arise,  cast  us  not  off  forever. 

24  Wherefore  hidest  thou  thy  face, 

And  forgettest  our  affliction  and  our  oppression  ? 

25  For  our  soul  is  bowed  down  to  the  dust : 
Our  belly  cleaveth  unto  the  earth. 

26  Arise  for  our  help, 

And  redeem  us  for  thy  mercies'  sake. 

This,  like  the  forty-second  psalm,  is  ascribed  to  the  sons  of 
Korah,  and  was  probably  composed  by  one  of  them.  The  poet 
speaks  of  God  as  having  been  the  deliverer  of  his  people  in 
ancient  times ;  but  intimates  that  now  they  are  given  up  to 
their  enemies.  Still  Israel  trusts  in  Him.  This  is  a  Maskil  or 
didactic  psalm,  being  intended  for  permanent  use.  At  the  end 
of  the  eighth  verse  the  word  selah  occurs,  probably  in  the 
sense  of  halleluyah. 

Psalm  xlv.  1-17. 

To  the  Chief  Musician  upon  STioshannim  for  the  Sons  of  Korah^ 
Maschil. — A  song  of  loves. 

1  My  heart  is  inditing  a  good  matter  : 

I  speak  of  the  things  which  I  have  made  touching  the 
king: 


rSALM  XLV.  1-ir. 


353 


My  tongue  is  the  pen  of  a  ready  writer. 

2  Thou  art  fairer  than  the  children  of  men  : 
Grace  is  poured  into  thy  lips : 
Therefore  God  hath  blessed  the  forever. 

3  Gird  thy  sword  upon  thy  thigh,  0  most  mighty, 
With  thy  glory  and  thy  majesty. 

4  And  in  thy  majesty  ride  prosperously, 

Because  of  truth  and  meekness  and  righteousness  ; 
And  thy  right  hand  shall  teach  thee  terrible  things. 

5  Thine  arrows  ay^e  sharp  in  the  heart  of  the  king's 

enemies : 

Wherehy  the  people  fall  under  thee. 

6  Thy  throne,  0  God,  is  for  ever  and  ever : 
The  sceptre  of  thy  kingdom  is  a  right  sceptre. 

7  Thou  lovest  righteousness,  and  hatest  wickedness  : 
Therefore  God,  thy  God,  hath  anointed  thee 
With  the  oil  of  gladness  above  thy  fellows. 

8  All  thy  garments  S7nell  of  myrrh,  and  aloes,  and 

cassia, 

Out  of  the  ivory  palaces, 

Whereby  they  have  made  thee  glad. 

9  Kings'  daughters  were  among  thy  honorable  women  : 
Upon  thy  right  hand  did  stand  the  queen  in  gold  of 

Ophir. 

10  Hearken,  0  daughter,  and  consider,  and  incline  thine 

ear ; 

Forget  also  thine  own  people,  and  thy  father's  house ; 

11  So  shall  the  king  greatly  desire  thy  beauty : 
For  he  is  thy  Lord  ;  and  worship  thou  him. 

12  And  the  daughter  of  Tyre  shall  he  there  with  a  gift ; 
Even  the  rich  among  the  people  shall  entreat  thy 

favor. 

13  The  king's  daughter  is  all  glorious  within  : 
Her  clothing  is  of  wrought  gold. 


354: 


SHOSHAXXIM  EXPLAINED. 


14  She  sliall  be  brought  unto  the  king  in  raiment  of 

needlework  : 

The  virgins  her  companions  that  follow  her  shall  be 
brought  unto  thee. 

15  With  gladness  and  rejoicing  shall  thej  be  brought : 
They  shall  enter  into  the  king's  palace. 

16  Instead  of  thy  fathers  shall  be  thy  children, 
Whom  thou  mayest  make  princes  in  all  the  earth. 

17  I  will  make  thy  name  to  be  remembered  in  all  genera- 

tions : 

Therefore  shall  the  people  praise  thee  forever  and 
ever. 

This  Psalm  is  also  ascribed  to  the  sons  of  Korah,  and  was 
probably  written  by  one  of  them. 

Upon  Shoshamiim. — This  expression  in  the  title  is  supposed 
by  some  to  refer  to  a  musical  instrument,  and  by  others  to  a 
particular  tune.  The  Hebrew  term  is  tj^i^'^ji^i  plural  of 
shnshan,  usually  signifying   Uly.     Hengstenberg  and 

some  others  suppose  that  it  refers  to  the  subject  of  the  Psalm, 
and  indicates  a  cheerful  theme.  Gesenius  thinks  that  it  refers 
to  a  musical  instrument,  resembling  a  lily  in  shape.  The  same 
term  is  used  in  Psalms  Ix.  Ixix.  and  Ixxx.  In  Psalms  Ix.  and 
Ixxx.  edhuth  is  joined  with  shushan,  and  Gesenius  sup- 

poses the  two  words  united  to  signify  pipe  of  song  or  a  lyric 
pipe,  probably  referring  to  the  cymbal.  This  opinion  is  con- 
firmed from  the  fact  that  there  is  one  kind  of  lily  called  the 
martabon  lily,  or  Turkish  cap,  which  very  much  resembles  the 
cymbal  in  form.  Indeed,  the  name  of  cymbal  was  sometimes 
given  to  this  species  of  lily.  The  flower  and  stock  bear  a 
strong  resemblance  to  several  kinds  of  wind  instruments,  and 
may  refer  to  them. 

This  is  a  Maskil,  or  didactic  psalm.  It  is  also  called  a  song 
of  loves,  referring  probably  to  the  connection  between  Jesus 


PSALM  XLVI.  1-11.  355 

Christ  and  the  church  represented  as  bridegroom  and  bride. 
Such  a  remarkable  accumulation  of  titles  would  seem  to  indi- 
cate that  the  psalm  is  one  of  vital  importance  to  the  people  of 
God. 

Psalm  xlvi.  1-11. 

To  the  Chief  Musician  for  the  Sons  of  Korah. — A  song  upon  Alamoth. 

1  God  is  our  refuge  and  strength, 
A  very  present  help  in  trouble. 

2  Therefore  will  not  we  fear,  though  the  earth  be  re- 

moved, 

And  though  the  mountains  be  carried  into  the  midst 

of  the  sea ; 

3  Though  the  waters  thereof  roar  and  be  troubled, 
Though  the  mountains  shake  with  the  swelling  there- 
of Selah. 

4  There  is  a  river,  the  streams  whereof  shall  make  glad 

the  city  of  God, 
The  holy  place  of  the  tabernacles  of  the  Most  High. 

5  God  is  in  the  midst  of  her  ;  she  shall  not  be  moved : 
God  shall  help  her,  and  that  right  early. 

6  The  heathen  raged,  the  kingdoms  were  moved  : 
He  uttered  his  voice,  the  earth  melted. 

7  The  Lord  of  hosts  is  with  us  ; 

The  God  of  Jacob  is  our  refuge.  Selah. 

8  Come,  behold  the  works  of  the  Lord, 
What  desolations  he  hath  made  in  the  earth. 

9  He  maketh  wars  to  cease  unto  the  end  of  the  earth  ; 
He  breaketh  the  bow,  and  cutteth  the  spear  in  sunder ; 
He  burneth  the  chariot  in  the  fire. 

10  Be  still,  and  know  that  I  am  God  : 
I  will  be  exalted  among  the  heathen, 
I  will  be  exalted  in  the  earth. 


856 


ALAMOTH  EXPLAINED. 


11  The  Lord  of  "hosts  is  with  us  ; 

The  God  of  Jacob  is  our  refuge.  Selah. 

Tliis  psalm  describes  the  righteous  as  safe  under  the  protec- 
tion of  their  Heavenly  Father.  It  is  ascribed  to  the  sons  of 
Korah^  and  was  probably  composed  by  one  of  them. 

On  Alamoth. — This  term  occurs  in  the  title,  and  refers  prob- 
ably to  female  voices,  or  the  treble  (vid.  Rem.  on  I  Chron.  xv, 
supra).  This  psalm  is  divided  into  three  strophes,  as  indicated 
by  the  word  selah  after  verses  3,  7,  and  11. 

Psalm  xlvii.  1-9. 

To  the  Chief  Musician. — A  Psalm  for  the  Sons  of  Korah. 

1  0  clap  your  hands,  all  ye  people ; 

Shout  unto  God  with  the  voice  of  triumph. 

2  For  the  Lord  Most  High  is  terrible  ; 
He  is  a  great  King  over  all  the  earth, 

8  He  shall  subdue  the  people  under  us, 
And  the  nations  under  our  feet. 

4  He  shall  choose  our  inheritance  for  us, 

The  excellency  of  Jacob  whom  he  loved.  Selah. 

5  God  is  gone  up  with  a  shout, 

The  Lord  with  the  sound  of  a  trumpet. 

6  Sing  praises  to  God,  sing  praises : 

Sing  praises  unto  our  King,  sing  praises. 

7  For  God  is  the  King  of  all  the  earth : 
Sing  ye  praises  with  understanding. 

8  God  reigneth  over  the  heathen  : 

God  sitteth  upon  the  throne  of  his  holiness. 

9  The  princes  of  the  people  are  gathered  together, 
Even  the  people  of  the  God  of  Abraham : 

For  the  shields  of  the  earth  belong  unto  God : 
He  is  greatly  exalted. 


PSALM  XLIX.  1-20. 


857 


This  psalm  expresses  great  joy  on  account  of  some  remarka- 
ble deliverance  of  the  chosen  people  of  God.  It  is  generally 
thought,  by  critics,  to  refer  to  the  sanguine  contest  between  the 
Israelites  under  Jehoshaphat,  and  the  Ammonites  and  Edomites, 
in  which  Israel  was  victorious  (vid.  II  Chron.  xx.  18-29).  It 
seems  that  singers  on  that  occasion  went  before  the  army,  and 
shouted  forth  the  praises  of  God. 

Shout  (y.  1). — This  refers  to  the  ancient  method  of  going  to 
war  with  loud  vociferations  (vid.  Rem.  on  Ex.  xxxii.  18  supra). 
The  soldiers  were  called  upon  to  clap  their  hands,  to  sing  (ver- 
ses 6  and  7).  In  verse  5  the  writer  exclaims,  God  is  gone  up 
with  the  sound  of  a  trumpet.  This  is  thought,  by  some  emi- 
nent commentators,  to  be  an  exclamation  indicating  that  God, 
after  the  victory,  had  gone  up  to  heaven  with  shouting  and 
great  pomp.  But  it  seems  more  natural  to  consider  the  writer 
as  intending  to  say,  that  God  was  present,  by  his  approbation 
at  least,  with  the  soldiers  as  they  went  up  to  the  battle,  attend- 
ed by  singing,  the  blast  of  the  trumpet,  and  the  shout  of  war. 
We  have  not  room  to  examine  this  view  critically,  but  present 
it  as  more  natural  than  the  other.  The  whole  psalm  seems  to 
refer  to  some  great  conflict  and  victory.  The  people  of  God 
triumphed  and  praised  Jehovah,  because  he  went  up  with  them 
and  effected  a  victory.  The  word  translated  trumpet  (v.  5),  is 
the  shophar  or  crooked  one  (vid.  Rem.  on  Ex.  xix.  16  supra). 

Selah  occurs  at  the  end  of  verse  4,  probably  in  the  sense 
of  Halleluyah.  It  also  occurs  in  psalm  xlviii.  8  in  the  same  sense. 

PsALii  xlix.  1-20. 

To  the  Chief  Musician. — A  Psalm  for  the  Sons  of  Korah. 

1  Hear  this,  all  ye  people  : 

Give  ear,  all  ye  inhabitants  of  tbe  world  : 

2  Both  low  and  high,  rich  and  poor  together. 

3  My  mouth  shall  speak  of  wisdom  ; 

And  the  meditation  of  my  heart  shall  be  of  understand- 
ing. 


358 


SONG  OF  A  SON  OF  KORAH. 


4  I  will  incline  mine  ear  to  a  parable : 

I  will  open  mj  dark  saying  upon  a  harp. 

5  Wherefore  should  I  fear  in  the  days  of  evil, 

When  the  iniquity  of  my  heels  shall  compass  me  about  ? 

6  They  that  trust  in  their  wealth, 

And  boast  themselves  in  the  multitude  of  their  riches  ; 

7  None  of  them  can  by  any  means  redeem  his  brother, 
Nor  give  to  God  a  ransom  for  him. 

8  (For  the  redemption  of  their  soul  is  precious,  and  it 

ceaseth  forever) ; 

9  That  he  should  still  live  forever,  and  not  see  corrup- 

tion. 

10  For  he  seeth  that  wise  men  die. 

Likewise  the  fool  and  the  brutish  person  perish, 
And  leave  their  wealth  to  others. 

11  Their  inward  thought  is,  that  their  houses  shall  con- 

tinue forever, 
And  their  dwelling-places  to  all  generations  ; 
They  call  their  lands  after  their  own  names. 

12  Nevertheless,  man  heing  in  honor  abideth  not : 
%  He  is  like  the  beasts  that  perish. 

13  This  their  way  is  their  folly  : 

Yet  their  posterity  approve  their  sayings.  Selah. 

14  Like  sheep  they  are  laid  in  the  grave ; 
Death  shall  feed  on  them  ; 

And  the  upright  shall  have  dominion  over  them  in  the 
morning  ; 

And  their  beauty  shall  consume  in  the  grave  from 
their  dwelling. 

15  But  God  will  redeem  my  soul  from  the  power  of  the 

grave : 

For  he  shall  receive  me.  Selah. 

16  Be  not  thou  afraid  when  one  is  made  rich, 
When  the  glory  of  his  house  is  increased ; 


PSALiI  L.  1-23. 


359 


17  For  when  he  dieth  he  shall  carry  nothing  away  : 
His  glory  shall  not  descend  after  him. 

18  Though  while  he  lived  he  blessed  his  soul : 

And  nun  will  praise  thee,  when  thou  doest  well  to 
thj^self. 

19  He  shall  go  to  the  generation  of  his  fathers  ; 
They  shall  never  see  light. 

20  Man  that  is  in  honor,  and  understandeth  not. 
Is  like  the  beasts  that  perish. 

Tills  psalm  describes  the  trials  of  the  righteous  arising  from 
the  success  and  hatred  of  the  wicked.  Sources  of  comfort  to 
the  people  of  God,  under  such  circumstances,  are  mentioned. 
It  was  probably  written  by  one  of  the  Sons  of  Korah,  as  its 
title  indicates.  Its  exact  date  cannot  be  ascertained  ;  but  the 
obscurity  of  the  style  refers  it  to  a  high  antiquity. 

Harp  (v.  4). — ^This  is  the  kin  nor,  the  same  which  is  men- 
tioned in  Gen.  iv.  21.  The  LXX  translate  it  by  ipa?-T]pt(x> 
(psalterio),  psaltery.  Selah  occurs  in  verse  13,  probably  in  the 
sense  of  silence,  or  meditation.  It  also  occurs  in  verse  15,  prob- 
ably in  the  sense  of  Halleluyah. 

• 

Psalm  1.  1-23. 

A  Psalm  of  Asaph. 

1  The  mighty  God,  even  the  Lord,  hath  spoken, 

And  called  the  earth,  from  the  rising  of  the  sun  unto 
the  going  down  thereof. 

2  Out  of  Zion,  the  perfection  of  beauty, 
God  hath  shined. 

8  Our  God  shall  come,  and  shall  not  keep  silence: 

A  fire  shall  devour  before  him,  and  it  shall  be  very 
tempestuous  round  about  him. 

4  He  shall  call  to  the  heavens  from  above. 

And  to  the  earth,  that  he  may  judge  his  people. 


360 


SONG  OF  ASAPH. 


5  Gather  rtiy  saints  together  unto  me  ; 

Those  that  have  made  a  covenant  with  me  by  sacrifice. 

6  And  the  heavens  shall  declare  his  righteousness  : 

For  God  is  judge  himself.  SeJah. 

7  Hear,  O  my  people,  and  I  will  speak ; 

0  Israel,  and  I  will  testify  against  thee  ; 

1  am  God,  even  thy  God. 

8  I  will  not  reprove  thee  for  thy  sacrifices. 

Or  thy  burnt-offerings,  to  have  leen  continually  before 
me. 

9  I  will  take  no  bullock  out  of  thy  house, 
Wor  he-goats  out  of  thy  folds, 

10  For  every  beast  of  the  forest  is  mine. 
And  the  cattle  upon  a  thousand  hills. 

11  I  know  all  the  fowls  of  the  mountains ; 
And  the  wild  beasts  of  the  field  are  mine. 

12  If  I  were  hungry,  I  would  not  tell  thee : 

For  the  world  is  mine,  and  the  fullness  thereof. 

13  Will  I  eat  the  flesh  of  bulls. 
Or  drink  the  blood  of  goats  ? 

14  Offer  unto  God  thanksgiving ; 

And  pay  thy  vows  unto  the  Most  High : 

15  And  call  upon  me  in  the  day  of  trouble  : 

I  will  deliver  thee,  and  thou  shalt  glorify  me. 

16  But  unto  the  wicked  God  saith, 

What  hast  thou  to  do  to  declare  my  statutes. 

Or  tJtat  thou  shouldest  take  my  covenant  in  thy  mouth? 

17  Seeing  thou  hatest  instruction. 
And  castest  my  words  behind  thee. 

18  When  thou  sawest  a  thief,  then  thou  consentedst  with 

him. 

And  hast  been  partaker  with  adulterers. 

19  Thou  givest  thy  mouth  to  evil, 
And  thy  tongue  frameth  deceit, 


PSALM  L.  1-23. 


861 


20  Thou  sittest  and  speak  est  against  thy  brother ; 
Thou  slanderest  thine  own  mother's  son. 

21  These  things  hast  thou  done,  and  I  kept  silence  ; 
Thou  thoughtest  that  I  was  altogether  such  an  one  as 

thyself : 

But  I  will  reprove  thee,  and  set  thim  in  order  before 
thine  eyes 

22  Now  consider  this,  ye  that  forget  God, 

Lest  I  tear  you  in  pieces,  and  there  he  none  to  deliver. 

23  Whoso  ofFereth  praise  glorifieth  me  : 

And  to  him  that  ordereth  his  conversation  aright  will 
I  show  the  salvation  of  God. 


In  this  psalm  God  is  represented  as  condemning  formalists,  on 
the  ground  that  they  are  deceitful.  He  calls  upon  them  to  wor- 
ship their  Creator.  This  is  the  first  psalm  which  is  ascribed  to 
Asaph.  From  I  Chron.  xxv.  1,  2,  it  appears  that  he  was  an 
inspired  prophet,  as  well  as  one  of  David's  chief  singers. 
Twelve  psalms,  viz :  1.,  and  Ixxii.-lxxxiii.,  are  ascribed  to  him. 
He  was  a  distinguished  Levite,  and  a  celebrated  musician  and 
composer.  It  is  thought  that  the  seventy-fourth  and  seventy- 
ninth  psalms  can  hardly  be  his  composition,  as  they  speak  of 
the  destruction  of  Jerusalem  and  the  burning  of  the  temple. 
The  style  seems  to  be  very  similar  to  that  of  the  lamentations 
of  Jeremiah.  It  is  believed  either  that  the  poem  is  incorrectly 
ascribed  to  Asaph,  or  that  it  was  composed  by  another  person 
by  the  same  name,  living  at  the  time  of  the  captivity.  There 
is  a  deep  vein  of  thought  pervading  Asaph's  psalms.  He  dwells 
upon  doctrines.  His  style  is  more  bold  and  vehement  than 
that  of  David,  and  sometimes  reaches  the  morally  sublime. 

In  verse  6  selah  occurs,  probably  in  the  sense  of  silence. 

In  the  fourteenth  verse  of  the  fifty-first  chapter  the  word  sing 
is  employed,  referring  to  the  utterance  of  the  praises  of  God. 
In  verses  3  and  5  of  chapter  lii.,  selah  occurs  in  the  sense  of 
iilence, 

16 


MAHHALATH  EXPLAINED. 


Psalm  liii.  1-6. 

To  the  Chief  Musician  upon  Mahhalath^  Maschil. — A  FSalm  of  Dor 

vid. 

1  The  fool  hath  said  in  his  heart,  There  is  no  God. 
Corrupt  are  they,  and  have  done  abominable  iniquity: 
There  is  none  that  doeth  good. 

2  God  looked  down  from  heaven  upon  the  children  of 

men. 

To  see  if  there  were  any  that  did  understand,  that  did 
seek  God. 
8  Every  one  of  them  is  gone  back ; 
They  are  altogether  become  filthy  ; 
There  is  none  that  doeth  good,  no,  not  one. 

4  Have  the  workers  of  iniquity  no  knowledge  ? 
"Who  eat  up  my  people  as  they  eat  bread : 
They  have  not  called  upon  God. 

5  There  were  they  in  great  fear,  where  no  fear  was : 
For  God  hath  scattered  the  bones  of  him  that  encamp- 

eth  against  thee : 
Thou  hast  put  them  to  shame,  because  God  hath  de- 
spised them. 

6  0  that  the  salvation  of  Israel  were  come  out  of  Zion  ! 
When  God  bringeth  back  the  captivity  of  his  people, 
Jacob  shall  rejoice,  and  Israel  shall  be  glad. 

This  is  a  psalm  of  David,  and  similar  to  the  fourteenth.  It 
is  thought  by  the  best  critics  that  both  psalms  were  written  by 
him,  and  that  the  latter  is  simply  the  former  rewritten  and  re- 
vised, in  order  to  elucidate  some  points  without  intending  to 
supersede  the  use  of  the  original  composition.  This  is  a  Mas- 
kilj  or  didactic  psalm. 

On  Mdhhdlath. — This  term  (jlbn)?)  occurs  in  the  title.  It 

-    is  derived  from  the  verb  Ji^H  hhala^  to  he  smooth  or  soft^  to 


PSALM  LIV.  1-r. 


363 


be  siclc.  Some  critics  believe  that  mahhalath^  in  this  place,  signi- 
fies disease,  referring  to  the  subject  of  the  psalm.  Others,  with 
more  reason  we  think,  adopt  the  former  signification,  and  de- 
rive from  it  the  meaning  to  sing.  Gesenius  supposes  that  it 
means  a  stringed  instrument,  a  lute  or  guitar.  In  the  ^Ethiopic 
version  it  is  translated  song.  Fiirst  supposes  it  to  mean  a  tune, 
and  that  it  is  the  first  word  of  some  popular  song.  Calmet 
translates  the  title  of  this  psalm  thus  :  '"'■An  instructive  psalm 
of  David  for  the  chief  master  of  dancing  :  or  for  the  chorut 
of  singers  and  dancers.''''  Horne  thinks  it  refers  to  some  pecu- 
liar dance  used  at  festivals.  The  LXX,  contrary  to  their  usual 
course,  leave  the  term  untranslated.  The  general  belief  is  that 
it  relates,  in  some  manner,  to  music ;  and  this  is  probably  its 
true  meaning.  It  occurs  in  only  one  other  psalm,  viz.,  the  88th, 
with  probably  a  similar  signification.  It  is  impossible  to  ascer- 
tain what  kind  of  an  instrument  is  intended  :  but  the  etymology 
of  the  word  would  indicate  the  softer  kind,  perhaps  the  luie  or 
guitar. 

Psalm  liv. 

To  the  Chief  Musician  on  Neginoth,  Maschil^  A  Psalm  of  David, 
when  the  Ziphims  came  and  said  to  Saul,  Doth  not  David  hide 
himself  with  us  ? 

1  Save  me,  0  God,  by  tby  name, 
And  judge  me  by  thy  strength. 

2  Hear  my  prayer,  0  God ; 

Give  ear  to  the  words  of  my  mouth. 

3  For  strangers  are  risen  up  against  me, 
And  oppressors  seek  after  my  soul : 

They  have  not  set  God  before  them.  Selah. 

4  Behold,  God  is  mine  helper: 

The  Lord  is  with  them  that  uphold  my  soul. 

5  He  shall  reward  evil  unto  mine  enemies : 
Cut  them  off  in  thy  truth. 


364  NEGINOTH  EXPLAINED. 

6  I  will  freely  sacrifice  unto  thee : 

I  will  praise  thy  name,  O  Lord,  for  it  is  good. 

7  For  lie  hath  delivered  me  out  of  all  trouble : 

And  mine  eye  hath  seen  his  desire  upon  mine  enemies. 

In  this  psalm  the  writer  prays  for  deliverance  from  his  ene- 
mies.    The  term   n^g'inoth    {XXXT^y^)  occurs  in  the  title, 

meaning  stringed  instruments  of  music,  as  in  psalm  iv  (vid. 
Rem.  on  the  same,  supra).  '  Selah  occurs  at  the  end  of  verse  4, 
probably  in  the  sense  of  silence.  N^ginoth  also  occurs  in  the 
title  of  Psalm  Iv,  with  a  similar  meaning  as  in  Ps.  liv.  At 
the  end  of  verse  7,  and  in  the  middle  of  verse  19,  selah  is 
found,  meaning  silence. 

Psalm  Ivi.  1-6. 

To  the  Chief  Musician  upon  Jonath-Elem  ReclioTcim^  Michtam  of 
David,  when  the  Philistines  tooh  hiin  in  Gath. 

1  Be  merciful  unto  me,  0  Grod ; 
For  man  would  swallow  me  up  : 
He  fighting  daily  oppresseth  me. 

2  Mine  enemies  would  daily  swallow  me  up : 

For  they  he  many  that  fight  against  me,  O  thoa  Most 
■  High. 

3  What  time  I  am  afraid, 
I  will  trust  in  thee. 

4  In  God  I  will  praise  his  word ; 
In  God  I  have  put  my  trust : 

I  will  not  fear  what  flesh  can  do  unto  me. 

5  Every  day  they  wrest  my  words ; 

All  their  thoughts  are  against  me  for  evil. 

6  They  gather  themselves  together,  they  hide  themselves. 


In  this  psalm  David  asks  to  be  delivered  from  the  malice  and 
oppression  of  his  foes,  and  trusts  in  the  Almighty  arm  to 


PSALM  LVII.  1-11. 


365 


rescue  him.  This  is  addressed  to  the  chief  musician,  and  is  a 
miktam  or  didactic  psalm. 

On  yonath  elem  r^hhoqim  (D^pn*"}    DbjS;    ^^V)-  Ton- 

ath  signifies  a  dove ;  don,  dvmb^  silent,  and  r^/ihoq'im,  far  dis- 
tant. Prof.  Alexander  supposes  that  this  phrase  refers  to 
David,  and  represents  him  as  an  innocent  and  uncomplaining 
sufferer  among  strangers  (vid.  his  Comment,  on  this  Ps.).  Ge- 
senius  translates  it  thus:  "  (he  silent  dove  among  strangers,^''  and 
supposes  that  it  may  refer  to  the  people  of  Israel  in  exile. 
There  seems  to  be  no  allusion  to  music  in  this  expression,  ex- 
cepting that  it  is  part  of  the  title  to  a  lyric  poem. 

Psalm  Ivii.  1-11. 

To  the  Chief  Musician,  Al-taschith,  Michtam  of  David,  when  he  fled 
from  Saul  in  the  cave. 

1  Be  merciful  unto  me,  0  God,  be  merciful  unto  rae : 
For  my  soul  trusteth  in  thee : 

Yea,  in  the  shadow  of  thy  wings  will  I  make  my 
refuge. 

Until  these  calamities  be  overpast. 

2  I  will  cry  unto  God  most  high ; 

Unto  God  that  performeth  all  things  for  me. 
8  He  shall  send  from  heaven,  and  save  me 

From  the  reproach  of  him  that  would  swallow  me 
up.  Selah. 
God  shall  send  forth  his  mercy  and  his  truth. 

4  My  soul  is  among  lions : 

And  I  lie  even  among  them  that  are  set  on  fire, 
Even  the  sons  of  men,  whose  teeth  are  spears  and 
arrows. 

And  their  tongue  a  sharp  sword. 

5  Be  thou  exalted,  0  God,  above  the  heavens : 
Let  thy  glory  he  above  all  the  earth. 


AL-TASCHHETH  EXPLAINED. 


6  They  "have  prepared  a  net  for  my  steps ; 
My  soul  is  bowed  down : 

They  have  digged  a  pit  before  me, 

Into  the  midst  whereof  they  are  fallen  themselves, 

7  My  heart  is  fixed,  0  God,  my  heart  is  fixed : 
I  will  sing  and  give  praise. 

8  Awake  up,  my  glory ;  awake,  psaltery  and  harp : 
I  myself  will  awake  early. 

9  I  will  praise  thee,  0  Lord,  among  the  people : 
I  will  sing  unto  thee  among  the  nations. 

10  For  thy  mercy  is  great  unto  the  heavens, 
And  thy  truth  unto  the  clouds. 

11  Be  thou  exalted,  0  God,  above  the  heavens  : 
Zet  thy  glory  he  above  all  the  earth. 

In  this  psalm  the  writer  describes  his  sufferings,  and  seeks  for 
deliverance  from  his  enemies. 

Al-taschheth  (rirTCiiTl'bi^)- — "^his  obscure  term,  which  oc- 
curs in  the  title,  means  destroy  not.  Some  critics  maintain  that 
it  relates  to  music.  Prof  Alexander  adopts  the  explanation 
suggested  by  the  Chaldee  Paraphrase,  viz :  that  the  psalm  be- 
longs to  that  period  in  David's  life  when  he  was  under  the  neces- 
sity of  saying  constantly.  Destroy  not.  Gesenius  supposes, 
with  more  reason,  we  think,  that  this  expression  contains  the 
"  first  words  or  title  of  a  song,  to  the  melody  of  which  this  psalm 
was  to  be  sung."  This  view  is  generally  received  as  correct. 
Psalms  Iviii,  lix,  and  Ixxv,  have  the  same  term  in  their  titles. 

Miktam  is  also  employed  in  the  title,  probably  meaning 
psalm  or  song  (vid.  Rem.  on  Ps.  xvi,  supra). 

hi  verses  3  and  6,  selah  occurs,  probably  in  the  sense  of 
silence. 

In  verse  7,  the  expression,  /  will  sing  and  give  praise,  is 
translated  by  Prof  Alexander  thus :  /  will  sing  and  play,  thus 
intimating  that  there  was  probably  not  only  vocal,  but  instru- 


PSALM  LIX.  1-17. 


367 


mental  music.  The  original  word  translated  sing  in  verses  7 
and  8,  has  the  same  derivation  as  that  in  Ex.  xv.  2  (vid  Rem. 
on  the  same  above.) 

Psaltery  (v.  8). — Nehhel  is  used  here  in  the  same  sense  as  in 
I  Sam.  X.  5,  and  II  Sam.  vi.  5. 

Harp  (v.  8). — This  is  the  kinnor^  the  same  as  in  Gen.  iv.  21. 
The  Septuagint  has  cithara.  The  literal  translation  of  the  last 
clause  of  the  verse  is,  /  will  mvaken  morning.  A  beautiful 
idea.  The  writer  was  going  to  awaken  the  dawn  instead  of 
being  awakened  by  it. 

Psalm  lix.  1-17. 

To  the  Chief  Musician^  Al-taschlth,  Michtam  of  David,  when  Saul 
sent,  and  they  watched  the  house  to  Mil  Mm. 

1  Deliver  me  from  mine  enemies,  0  raj  God: 
Defend  me  from  them  that  rise  against  me. 

2  Deliver  me  from  the  workers  of  iniquity, 
And  save  me  from  bloody  men. 

3  For  lo,  they  lie  in  wait  for  my  soul : 
The  mighty  are  gathered  against  me ; 

'Not  for  my  transgression,  nor  for  my  sin,  0  Lord. 

4  They  run  and  prepare  themselves  without  7ni/  fault: 
Awake  to  help  me,  and  behold. 

5  Thou,  therefore,  0  Lord  God  of  hosts, 

The  God  of  Israel,  awake  to  visit  all  the  heathen : 
Be  not  merciful  to  any  wicked  transgressors.  Selah. 

6  They  return  at  evening; 
They  make  a  noise  like  a  dog, 
And  go  round  about  the  city. 

7  Behold,  they  belch  out  with  their  mouth : 
Swords  a7^e  in  their  lips ; 

For  who,  {say  they,)  doth  hear  ? 

8  But  thou,  0  Lord,  shalt  laugh  at  them ; 
Thou  shalt  have  all  the  heathen  in  derision. 


368 


psal:m:  of  datid. 


9  Because  of  his  strength  will  I  wait  upon  thee; 
For  God  is  my  defence. 

10  The  God  of  my  mercy  shall  prevent  me ; 

God  shall  let  me  see  my  desire  upon  mine  enemies. 

11  Slay  them  not,  lest  my  people  forget : 
Scatter  them  by  thy  power ; 

And  bring^  them  down,  0  Lord  our  shield. 

12  For  the  sin  of  their  mouth,  and  the  words  of  their 

lips. 

Let  them  even  be  taken  in  their  pride : 
And  for  cursing  and  lying  which  they  speak. 

13  Consume  them  in  wrath,  consume  them^  that  they  may 

not  he : 

And  let  them  know  that  God  ruleth  in  Jacob  unto  the 
ends  of  the  earth.  Selah. 
Itt  And  at  evening  let  them  return  ; 

And  let  them  make  a  noise  like  a  dog, 
And  go  round  about  the  city. 

15  Let  them  wander  up  and  down  for  meat, 
And  grudge  if  they  be  not  satisfied. 

16  But  I  will  sing  of  thy  power; 

Yea,  I  will  sing  aloud  of  thy  mercy  in  the  morning : 
Eor  thou  hast  been  my  defence  and  refuge  in  the  day 
of  my  trouble. 

17  Unto  thee,  0  my  strength,  will  I  sing : 

For  God  is  my  defence,  and  the  God  of  my  mercy. 

This  Psalm  contains  a  description  of  the  sufferings  of  a  pious 
man,  from  implacable  foes.  He  pravs  for  deliverance,  and  con- 
fides in  God  to  accomplish  what  he  so  much  desires.  The  lat- 
ter part  of  the  poem  forms  a  parallelism  with  the  first  part, 
the  same  subject  being  repeated.  The  title  is  the  same  as  those 
of  the  two  preceding  psalms.  Selah  occurs  in  verses  5  and  13, 
probably  in  the  sense  of  silenee. 

I  will  sing  (verses  16  and  17). — In  verse  16  a  derivative  of 


PSALM  LX.  1-12. 


309 


the  same  word,  in  the  original,  is  used,  as  in  Gen.  xxxi.  27  and 
Ex.  XV.  1,  and  in  verse  17  a  derivative  of  the  same  word  as  is 
found  in  Ex.  xv.  2,  remarks  on  which  see. 

Psalm  Ix.  1-12. 

To  the  Chief  Musician  upon  Shushan-eduth,  Michtam  of  David,  to 
teach;  when  he  stroTe  with  Aram-naharaim,  and  with  Aram-zo- 
J)ah.,  when  Joah  returned^  and  smote  of  Edom  in  the  valley  of  Salt^ 
twelve  thousand. 

1  0  God,  thou  hast  cast  us  off, 

Thou  hast  scattered  us,  thou  hast  been  displeased  ; 

0  turn  thyself  to  us  again. 

2  Thou  hast  made  the  earth  to  tremble  ;  thou  hast  brok- 

en it : 

Heal  the  breaches  thereof ;  for  it  shaketh. 

3  Thou  hast  showed  thy  people  hard  things : 

Thou  hast  made  us  to  drink  the  wine  of  astonishment. 

4  Thou  hast  given  a  banner  to  them  that  fear  thee, 
That  it  may  be  displayed  because  of  the  truth.  Selah. 

5  That  thy  beloved  may  be  delivered  ; 
Save  With  thy  right  hand,  and  hear  me. 

6  God  hath  spoken  in  his  holiness  ; 

1  will  rejoice,  I  will  divide  Shechem, 
And  mete  out  the  valley  of  Succoth. 

7  Gilead  is  mine,  and  Manasseh  is  mine ; 
Ephraim  also  is  the  strength  of  mine  head  ; 
Judah  is  my  lawgiver ; 

8  Moab  is  my  wash -pot ; 

Over  Edom  will  I  cast  out  my  shoe  : 
Philistia,  triumph  thou  because  of  me. 

9  Who  will  bring  me  hito  the  strong  city  ? 
Who  will  lead  me  into  Edom  ? 

10  Wilt  not  thou,  0  God,  which  hadst  cast  us  off  ? 


370 


SHUSHAN-EDUTH  EXPLAIXED. 


And  tliou^  0  God,  lohich  didst  not  go  out  with  our 
armies  ? 

11  Give  us  help  from  trouble  ; 
For  vain  is  the  help  of  man. 

12  Through  God  we  shall  do  valiantly : 

For  he  it  is  that  shall  tread  down  our  enemies. 

This  psalm  is  divided  into  three  equal  strophes  of  four  verses 
each.    The  writer  pleads  earnestly  for  the  people  of  God. 
Sh/shan-edhuih  Iti^tlj)- — This  expression  in  the  title 

signifies  Uli/  of  the  testimony.  The  first  part  of  it  occurs  in 
the  plural  in  Psalm  xlv  slioshannim).    This  expres- 

sion probably  indicates  some  kind  of  wind  instrument  of  music 
resembling  a  lily  in  shape  (vid.  Rem.  on  Ps.  xlv.  supra). 
Mik'tam^  meaning  song^  also  appears  in  the  title.  At  the  end 
of  verse  4,  selah  occurs,  probably  in  the  sense  of  halleluyah. 
In  Psalm  Ixi,  n^g'inoth  is  used  as  in  Psalms  iv,  vi,  liv,  Iv,  signi- 
fying stringed  instruments  of  music.  At  the  end  of  verse  4,  in 
the  same  Psalm  (Ixi),  selah  is  found,  probably  in  the  sense  of 
halleluyah. 

I  luill  sing  (Ps.  Ixi.  S),  would  be  more  correctly  translated, 
/  will  celebrate^  i.  e.,  both  by  vocal  and  instrumental  music. 
Psalm  Ixii.  is  ascribed  to  Jeduthun  like  psalm  xxxix,  which  see. 
Selah  at  the  end  of  verse  4  in  Ps.  Ixii,  probably  means  silence^ 
and  in  verse  8,  halleluyah.  hi  Psalm  Ixv,  verse  13,  sing  is 
used.  The  same  original  word  is  employed  as  in  Gen.  xxxi. 
27,  remarks  on  which  see. 

Psalm  lx\d.  1-20. 

To  the  Chief  Musician. — A  song  or  'psalm. 

1  Make  a  joyful  noise  unto  God,  all  ye  lands : 

2  Sing  forth  the  honor  of  his  name : 
Make  his  praise  glorious. 

8  Say  unto  God,  How  terrible  art  thou  in  thy  works ! 


PSALM  LXVI.  1-20. 


371 


Through  the  greatness  of  thy  power 

Shall  thine  enemies  submit  themselves  unto  thee. 

4  All  the  earth  shall  worship  thee,  and  shall  sing  unto 

thee ; 

They  shall  sing  to  thy  name.  Selah. 

5  Come  and  see  the  works  of  God  : 

He  is  terrible  in  his  doing  toward  the  children  of  men. 

6  He  turned  the  sea  into  dry  land : 
They  went  through  the  flood  on  foot : 
There  did  we  rejoice  in  him. 

7  He  ruleth  by  his  power  for  ever ; 
His  eyes  behold  the  nations: 

Let  not  the  rebellious  exalt  themselves.  Selah. 

8  O  bless  our  God,  ye  people, 

And  make  the  voice  of  his  praise  to  be  heard : 

9  Which  holdeth  our  soul  in  life. 

And  suffereth  not  our  feet  to  be  moved. 

10  For  thou,  0  God,  hast  proved  us : 
Thou  hast  tried  us,  as  silver  is  tried. 

11  Thou  broughtest  us  into  the  net ; 
Thou  laidest  affliction  upon  our  loins. 

12  Thou  hast  caused  men  to  ride  over  our  heads  : 
We  went  through  fire  and  through  water : 

But  thou  broughtest  us  out  into  a  vjQsXihy  place. 

13  I  will  go  into  thy  house  with  burnt-offerings : 

14  I  will  pay  thee  my  vows,  which  my  lips  have  uttered, 
And  my  mouth  hath  spoken,  when  I  was  in  trouble. 

15  I  will  offer  unto  thee  burnt-sacrifices  of  fatlings, 
With  the  incense  of  rams;  I  will  offer  bullocks  with 

goats.  Selah. 

16  Come  and  hear,  all  ye  that  fear  God, 

And  I  will  declare  what  he  hath  done  for  my  soul. 

17  I  cried  unto  him  with  my  mouth, 
And  he  was  extolled  with  my  tongue. 


372 


HEBREW  POETRY. 


18  If  I  regard  iniquity  in  my  heart, 
The  Lord  will  not  hear  me : 

19  But  verily  God  hath  heard  me  ; 

He  hath  attended  to  the  voice  of  my  prayer. 

20  Blessed  he  God,  which  hath  not  turned  away  my 

prayer, 
ISTor  his  mercy  from  me. 

God's  wonderful  works,  and  his  dealings  with  the  righteous 
are  here  recorded. 

Sing  (verses  2,  4). — A  similar  term  in  the  original  is  used  as 
in  Ex.  XV.  2,  remarks  on  which  see.  Selah,  at  the  end  of 
verses  4  and  15,  probably  means  halleluyah^  and  in  verse  7, 
silence.  In  the  title  of  Psalm  Ixvii.  neglnoth  occurs,  meaning 
stringed  instruments.  Selah  in  the  first  verse  probably  means 
silence^  and  in  verse  4,  halleluyah. 

Sing  (verse  4). — The  original  word  has  the  same  derivation 
as  that  used  in  Lev.  ix.  24,  and  translated  shouted^  remarks  on 
which  see. 

Psalm  kviii.  1-4  ;  13-35. 

1  Let  God  arise,  let  his  enemies  be  scattered  : 
Let  them  also  that  hate  him  flee  before  him, 

2  As  smoke  is  driven  away,  so  drive  them  away  : 
As  wax  melteth  before  the  fire, 

.  So  let  the  wicked  perish  at  the  presence  of  God. 

3  But  let  the  righteous  be  glad  ;  let  them  rejoice  before 

God: 

Yea,  let  them  exceedingly  rejoice. 

4  Sing  unto  God,  sing  praises  to  his  name ; 
Extol  him  that  rideth  upon  the  heavens 
By  his  name  Jah,  and  rejoice  before  him. 

13  Though  ye  have  lien  among  the  pots, 


PSALM  LXVIII.  1-4;  13-35. 


373 


Yet  shall  ye  he  as  the  wings  of  a  dove  covered  with 
silver, 

And  her  feathers,  with  yellow  gold. 

14  "When  the  Almighty  scattered  kings  in  it, 
It  was  white  as  snow  in  Salmon. 

15  The  hill  of  God  is  as  the  hill  of  Bashan ; 
An  high  hill,  as  the  hill  of  Bashan. 

16  Why  leap  ye,  ye  high  hills? 

This  is  the  hill  which  God  desireth  to  dwell  in ; 
Yea,  the  Zord  will  dwell  in  it  forever  : 

17  The  chariots  of  God  ara  twent}^  thousand,  even  thou- 

sands of  angels  ; 
The  Lord  is  among  them  as  in  Sinai,  in  the  holy 
place. 

18  Thou  hast  ascended  on  high, 
Thou  hast  led  captivity  captive  : 
Thou  hast  received  gifts  for  men  ; 
Yea,  for  the  rebellious  also. 

That  the  Lord  God  might  dwell  among  them. 

19  Blessed  he  the  Lord,  who  daily  loadeth  us  with  hem- 

fits, 

Even  the  God  of  our  salvation.  Selah. 

20  He  that  is  our  God  is  the  God  of  salvation  ; 

And  unto  God  the  Lord  helong  the  issues  from  death. 

21  But  God  shall  wound  the  head  of  his  enemies, 

And  the  hairy  scalp  of  such  an  one  as  goeth  on  still  in 
his  trespasses. 

22  The  Lord  said,  I  will  bring  again  from  Bashan, 

I  will  bring  my  people  again  from  the  depths  of  the 
sea : 

23  That  thy  foot  may  be  dipped  in  the  blood  of  thine 

enemies, 

And  the  tongue  of  thy  dogs  in  the  same. 
24:  They  liave  seen  thy  goings,  0  God, 


374 


David's  triumph. 


Even  the  goings  of  my  God,  my  King,  in  the  sanc- 
tuary : 

25  The  singers  went  before, 

The  players  on  instruments  followed  after ; 

Among  them  were  the  damsels  playing  with  timbrels. 

26  Bless  ye  Grod  in  the  congregations. 

Even  the  Lord,  from  the  fountain  of  Israel. 

27  There  is  little  Benjamin  with  their  ruler, 
The  princes  of  Judah  and  their  council, 

The  princes  of  Zebulun,  and  the  princes  of  Naphtali. 

28  Thy  God  hath  commanded  thy  strength  : 
Strengthen,  0  God,  that  which  thou  hast  wrought  for  us. 

29  Because  of  thy  temple  at  Jerusalem 
Shall  kings  bring  presents  unto  thee. 

30  Kebuke  the  company  of  spearmen. 

The  multitude  of  the  bulls,  with  the  calves  of  the 
people, 

Till  every  one  submit  himself  with  pieces  of  silver : 
Scatter  thou  the  people  tliat  delight  in  war. 

31  Princes  shall  come  out  of  Egypt ; 

Ethiopia  shall  soon  stretch  out  her  hands  unto  God. 

32  Sing  nnto  God,  ye  kingdoms  of  the  earth  ; 

0  sing  praises  unto  the  Lord  ;  Selah. 

33  To  him  that  rideth  upon  the  heavens  of  heavens  which 

were  of  old ; 

Lo,  he  doth  send  out  his  voice,  and  that  a  mighty 
voice. 

34  Ascribe  ye  strength  unto  God ; 

His  excellency  is  over  Israel,  and  his  strength  is  in  the 
clouds. 

35  0  God,  thou  art  terrible  out  of  thy  holy  places  : 

The  God  of  Israel  is  he  that  giveth  strength  and  pow- 
er unto  his  people. 
Blessed  he  God. 


PSALM  LXXI.  1-24. 


375 


In  this  psalm  David  utters  ascriptions  of  praise  to  God  for 
some  celebrated  victory.  It  is  thought  that  reference  is  made 
to  a  war  near  the  close  of  his  reign,  mentioned  in  II  Sam.  xii. 
26-31.  A  history  of  the  dealings  of  God  with  Israel,  in  differ- 
ent ages,  follows. 

Sing  (v.  4). — A  derivative  of  shii\  is  the  original,  as  in  Ex. 
XV.  1. 

Sing  (in  the  same  verse). — The  original  in  this  case  is  a  de- 
rivative of  zamar^  as  in  Ex.  xv.  2,  remarks  on  which  see. 
Selah  occurs  in  verse  7,  probably  in  the  sense  of  silence,  and  in 
verses  19  and  32,  in  the  sense  of  halleluyah. 

The  singers  (v.  25). — The  original  is  the  plural  of  shir,  as 
in  verse  4. 

Players  on  instruments  (v.  25). — The  original  is  tJ'^^^SD 

ghi'im,  the  general  term  for  stringed  instrume7its,  from  nngan, 
to  play  on  stringed  instruments  (vid.  Rem.  on  Gen.  iv.  21 
supra).  Probably  different  kinds  of  instruments  of  that  class 
were  employed. 

Timbrels  (v.  25). — These  were  tophs,  as  in  Ex.  xv.  20,  re- 
marks on  which  see  above.  It  seems  by  this  that  not  only 
stringed,  but  pulsatile  instruments  were  employed,  and  that  by 
females.  The  original  indicates  that  the  singers  and  those  per- 
forming on  stringed  instruments  were  surrounded  by  females 
playing  on  their  timbrels. 

In  verse  32,  sing  occurs  in  the  ordinary  sense.  The  king- 
doms of  the  earth  are  called  upon  to  sing  praises  to  God.  In 
psalm  Ixix.,  shoshanmm  is  used  in  the  title,  and  probably  means 
a  wind  insirume?it  somewhat  resembling  a  lily,  as  in  psalm  xlv, 
remarks  on  which  see.  In  verse  30,  song  occurs,  for  which  the 
usual  word  shir  is  used  in  the  original. 

Psalm  Ixxi.  1-24. 

1  In  thee,  0  Lord,  do  I  put  my  trust: 
Let  me  never  be  put  to  cod  fusion. 


376 


SUFFERINGS  OF  THE  RIGHTEOUS. 


•  2  Deliver  me  in  thy  righteousness,  and  cause  me  to 
escape : 

Incline  thine  ear  unto  me,  and  save  me. 

3  Be  thou  my  strong  habitation,  whereunto  I  may  con- 

tinually resort : 
Thou  hast  given  commandment  to  save  me ; 
For  thou  art  my  rock  and  my  fortress. 

4  Deliver  me,  0  my  God,  out  of  the  hand  of  the  wicked, 
Out  of  the  hand  of  the  unrighteous  and  cruel  man. 

5  For  thou  art  my  hope,  O  Lord  God : 
Thou  art  my  trust  from  my  youth. 

6  By  thee  have  I  been  holden  up  from  the  womb : 
Thou  art  he  that  took  me  out  of  my  mother's  bowels : 
My  praise  shall  he  continually  of  thee. 

7  I  am  as  a  wonder  unto  many : 
But  thou  art  my  strong  refuge. 

8  Let  my  mouth  be  filled  with  thy  praise, 
And  with  thy  honor  all  the  day. 

■9  Cast  me  not  off  in  the  time  of  old  age ; 
Forsake  me  not  when  my  strength  faileth. 

10  For  mine  enemies  speak  against  me ; 

And  they  that  lay  wait  for  my  soul  take  counsel  to- 
gether, 

11  Saying,  God  hath  forsaken  him : 
Persecute  and  take  him  ; 

For  there  is  none  to  deliver  him. 

12  0  God,  be  not  far  from  me ; 

0  m}^  God,  make  haste  for  my  help. 

13  Let  them  be  confounded  and  consumed  that  are  adver- 

saries to  nw  soul ; 
Let  them  be  covered  loith  reproach  and  dishonor  that 
seek  my  hurt. 

14  But  I  will  hope  continually. 

And  will  yet  praise  thee  more  and  more. 


PSALir  LXXI.  1-24. 


377 


15  My  mouth  shall  show  forth  thj  righteousness  a7id  thy 

salvation  all  the  day ; 
For  I  know  not  the  numbers  thereof. 

16  I  will  go  in  the  strength  of  the  Lord  God  ; 

I  will  make  mention  of  thy  righteousness,  even  of  thine 
only. 

17  0  God,  thou  hast  taught  me  from  my  youth : 
And  hitherto  have  I  declared  thy  wondrous  works. 

18  Now  also,  when  I  am  old  and  grey-headed,  0  God,  for- 

sake me  not ; 

Until  I  have  showed  thy  strength  unto  this  generation, 
And  thy  power  to  every  one  that  is  to  come. 

19  Thy  righteousness  also,  O  God,  is  very  high, 
Who  hast  done  great  things : 

0  God,  who  is  like  unto  thee ! 

20  Thou^  which  hast  showed  me  great  and  sore  troubles, 

shalt  quicken  me  again, 
And  shalt  bring  me  up  again  from  the  depths  of  the 
eartli. 

21  Thou  shalt  increase  my  greatness, 
And  comfort  me  on  every  side. 

22  I  will  also  pi-aise  thee  with  the  psalter^^, 
Even  thy  truth,  0  my  God : 

Unto  thee  will  I  sing  with  the  harp, 
0  thou  hol  v  one  of  Israel. 

23  My  lips  shall  greatly  rejoice  when  I  sing  unto  thee  ; 
And  my  soul,  which  thou  hast  redeemed. 

24  My  tongue  also  shall  talk  of  thy  righteousness  all  the 

day  long : 

For  they  are  confounded,  for  they  are  brought  unto 
shame,  th^it  seek  my  hurt. 


This  psalm  resembles  the  22d,  35th,  38th,  and  40th,  and  ap- 
pears to  have  a  part  of  the  last  prefixed  to  it,  which  circum- 


378 


HEBREW  HARP  AND  LYRE. 


stance  is  supposed  to  be  the  reason  why  it  has  no  title.  The 
theme  of  the  psalm  seems  to  be  the  sufferings  of  the  righteous 
and  their  plea  for  deliverance. 

Psaltery — harp  (v.  22). — These  are  the  nebhel  and  Icinnor 
(vid.  Rem.  on  I  Sam.  x.  5;  II  Sam.  vi.  5,  and  Gen.  iv.  21). 
Prof.  Alexander  translates  thus  :  "  Also  /  will  thank  thee  with 
a  harp-instrument,  i,  e.,  with  a  harp  or  lyre  as  the  instrument 
of  praise."  In  the  23d  verse,  the  two  verbs  translated,  in  our 
English  version,  rejoice  and  sing^  may  refer,  though  not  neces- 
sarily, to  both  instrumental  and  vocal  music.  In  the  title  of 
Psalm  Ixxv.  Al-tascheth  occurs,  signifying  destroy  not  (vid.  Rem. 
on  Ps.  Ivii,  and  Iviii,  supra). 

Sing  (v.  9),  occurs  in  the  usual  sense. 

Selah  is  found  in  verse  5,  probably  in  the  sense  of  silence. 
Sing  occurs  in  verse  9,  referring  to  the  praises  of  God.  In  the 
title  of  psalm  Ixxvi,  negmoth,  meaning  stringed  instruments,  oc- 
curs, for  an  explanation  of  which  see  remarks  on  Gen.  iv.  21 ; 
Job  xxx.  9 ;  Ps.  iv. 

Selah  is  found  in  verses  3  and  9,  probably  in  the  sense  of 
silence.  In  psalm  Ixxvii.  7,  sing  occurs,  the  original  of  which  is 
n^g'inathiy,  and  may  be  translated,  I  will  play  on  stringed  instru- 
ments. 

In  verses  3,  9,  and  15,  selah  is  found.  In  the  15  th  verse  it 
probably  signifies  halleluyah,  and  in  the  other  two,  silence.  In 
Psalm  Ixxx,  shoshann'im  eduth  appear  in  the  title,  meaning  song 
of  the  lily.  See  remarks  on  Psalms  xlv,  and  Ix,  where  the 
same  terms  occur. 

Psalm  Ixxxi.  1-16. 

To  the  Chief  Musician  upon  Gittith. — A  Psalm  of  Asaph. 

1  Sing  aloud  unto  God  our  strength : 

Make  a  joyful  noise  unto  the  God  of  Jacob. 

2  Take  a  psalm,  and  bring  hither  the  timbrel, 
The  pleasant  harp  with  the  psaltery. 


PSALM  LXXXI.  1-16. 


379 


3  Blow  up  the  trumpet  in  the  new  moon, 

In  the  time  appointed,  on  our  solemn  feast-day. 

4  For  this  was  a  statute  for  Israel, 
And  a  law  of  the  God  of  Jacob. 

5  This  he  ordained  in  Joseph yb/'  a  testimony, 
When  he  went  out  through  the  land  of  Egypt ; 
Where  I  heard  a  language  that  I  understood  not. 

6  I  removed  his  shoulder  from  the  burden : 
His  hands  were  delivered  from  the  pots. 

7  Thou  calledst  in  trouble,  and  I  delivered  thee ; 
I  answered  thee  in  the  secret  place  of  thunder: 

I  proved  thee  at  the  waters  of  Meribah.  Selah. 

8  Hear,  0  my  people,  and  I  will  testify  unto  thee : 
0  Israel,  if  thou  wilt  hearken  unto  me ; 

9  There  shall  no  strange  god  be  in  thee ; 
Neither  shalt  thou  worship  any  strange  god. 

10  I  am  the  Lord  thy  Grod, 

Which  brought  thee  out  of  the  land  of  Egypt: 
Open  thy  mouth  wide,  and  I  will  fill  it. 

11  Bat  my  people  would  not  hearken  to  my  voice ; 
And  Israel  would  none  of  me. 

12  So  I  gave  them  up  unto  their  own  hearts'  lust : 
And  they  walked  in  their  own  counsels. 

13  0  that  my  people  had  hearkened  unto  me, 
And  Israel  had  walked  in  my  ways! 

14  I  should  soon  have  subdued  their  enemies, 
And  turned  my  hand  ngainst  their  adversaries. 

15  The  haters  of  the  Lord  should  have  submitted  them- 

selves unto  him  : 
But  their  time  should  have  endured  for  ever. 

16  He  should  have  fed  them  also  with  the  finest  of  the 

wheat : 

And  with  honey  out  of  the  rock  should  I  have  satis- 
fied thee. 


880 


SONG  FOR  THE  PASSOVER. 


The  Psalmist  exhorts  Israel  to  praise  God  for  deliverance 
from  her  enemies  in  Egypt,  and  the  poem  is  supposed  to  have 
been  prepared  in  order  to  be  sung  at  the  Passover. 

Gittith,  probably  meaning  instruments  of  music,  though  it  is 
uncertain  what  kind,  occurs  in  the  title,  for  an  explanation  of 
which  vid.  remarks  on  Psalm  viii.  supra. 

Sing  aloud  (v.  1). — The  original  of  this  is  a  derivative  of 
ronan  {^^)  to  utter  a  tremulous  sound.    In  Ps.  v.  11  (v.  12 

in  Heb.),  the  same  word  is  translated  shout.  The  idea  is,  to 
utter  exalted  songs  of  praise  to  God.  The  parallel  verb  in  the 
same  verse,  is,  according  to  Alexander,  a  generic  term,  refer- 
ring both  to  shouting^  and  to  the  sound  of  the  trumpet. 

Timbrel,  harp,  psaltery  (v.  2). — These  are  the^^opA,  kiiinor^ 
and  nebhel,  for  an  explanation  of  which  see  Eem.  on  Ex.  xv. 
20;  Gen.  iv.  21  ;  and  I  Sam.  x.  5. 

Blow  vp  the  trumpet  (v.  3). — This  is  the  shophar  (vid.  Rem. 
on  Ex.  xix.  16  supra).  In  verse  7  selah  occurs,  probably 
meaning  halleluyah.  In  Psalm  Ixxxii,  selah  is  found  in  verse  2, 
probably  in  the  sense  of  silence.  In  the  same  sense  also  it  oc- 
curs in  Psalm  Ixxxiii.  8.  In  the  title  of  Psalm  Ixxxiv,  git- 
t'iih  is  found,  meaning  probably  instruments  of  music  (vid. 
Rem.  on  Ps.  viii.  supra).  In  verses  4  and  8  selah  occurs, 
probably  in  the  sense  of  halleluyah.  In  Psalm  Ixxxv,  verse 
2,  selah  is  found  in  the  sense  of  halleluyah. 

Psalm  Ixxxvii.  1-7. 

A  Psalm  or  Song  for  the  Sons  of  Korah. 

1  His  foundation  is  in  the  boly  mountains. 

2  The  Lord  lovetb  the  gates  of  Zion 
More  than  all  the  dwellings  of  Jacob. 

3  Glorious  things  are  spoken  of  thee,  0  city  of  God. 

Selah. 

4  I  will  make  mention  of  Rabab  and  Babylon  to  them 

tbat  know  me : 


PSALM  LXXXVIII.  1-18. 


381 


Behold  Philistia,  and  Tjre^  with  Jllthiopia; 
This  ma?i  was  born  there. 
6  And  of  Zion  it  shall  be  said,  This  and  that  man  was 
born  in  her, 
And  the  Highest  himself  shall  establish  her. 

6  The  Lord  shall  count,  when  he  writeth  up  the  people, 
That  this  77ia?i  was  born  there.  Selah. 

7  As  well  the  singers  as  the  players  on  instruments  shall 

he  there : 
All  my  springs  are  in  thee. 

This  Psalm  seems  to  have  been  composed  in  commemoration 
of  the  flict,  that  Hezekiah  had  been  delivered  from  the  power 
of  the  Assyrians. 

Singers — players  on  instruments  (verse  7.)  —  The  term 
translated  singers  is  sharun,  the  usual  term  employed.  The 
word  translated  plmjers  on  instruments^  is  the  plural  of  halilil 
(i^bn)?  meaning  This  refers  probably  to  the  Hebrew 

flute,  for  a  full  explanation  of  which  see  Rem.  on  I  Sam.  x.  5, 
and  I  Kings  i.  40.  Alexander  correctly  translates  the  verse 
thus  :  "  And  singers  as  tvell  as  players  (shall  be  heard  saying), 
All  my  springs  are  in  thee.'*''  The  poet  seems  to  have  had  a  vision 
of  the  nations,  preceded  by  musicians,  moving  in  solemn  pro- 
cession to  Mount  Zion.  The  reference  is  to  vocal  and  instru- 
mental music  in  praise  of  Jehovah.  Selah  is  found  in  verses  3 
and  G,  probably  in  the  sense  of  halleluyah.  They  are  also, 
doubtless,  intended  to  mark  the  divisions  of  the  poem. 

Psalm  Ixxxviii.  1-18. 

A  Song  or  Psalm  for  the  Sons  of  Kora\  to  the  Chief  Musician  upon 
Mahhalath  Leannoth,  Maschil  of  Heman  the  Ezrahite. 

1  0  Lord  God  of  my  salvation, 

I  have  cried  day  and  night  before  thee  : 

2  Let  my  prayer  come  before  thee  ; 


882 


MOURNFUL  SONG  OF  HEMAN. 


Incline  tliine  ear  unto  my  cry ; 
8  For  my  soul  is  full  of  troubles  : 

And  my  life  draweth  nigh  unto  tlie  grave. 

4  I  am  counted  with  them  that  go  down  into  the  pit : 
I  am  as  a  man  that  hath  no  strength  : 

5  Free  among  the  dead  like  the  slain  that  lie  in  the  grave, 
Whom  thou  rememberest  no  m.ore  : 

And  they  are  cut  off  from  thy  hand. 

6  Thou  hast  laid  me  in  the  lowest  pit, 
In  darkness,  in  the  deeps. 

7  Thy  wrath,  lieth  hard  upon  me, 

And  thou  hast  afflicted  me,  with  all  thy  waves.  Selah. 

8  ThoLi  hast  put  away  mine  acquaintance  far  from  me  ; 
Thou  hast  made  me  an  abomination  unto  them : 

I  am  shut  up,  and  I  cannot  come  forth. 

9  Mine  eye  mourneth  by  reason  of  affliction  : 
Lord,  I  have  called  daily  upon  thee, 

I  have  stretched  oat  my  hands  unto  thee. 

10  Wilt  thou  show  wonders  to  the  dead  ? 

Shall  the  dead  arise  and  praise  thee  ?  Selah. 

11  Shall  thy  loving-kindness  be  declared  in  the  grave? 
Or  thy  faithfulness  in  destruction  ? 

12  Shall  thy  wonders  be  known  in  the  dark  ? 

And  th}^  righteousness  in  the  land  of  forgetfulness  ? 

13  Bat  unto  thee  have  I  cried,  0  Lord; 

And  in  the  morning  shall  my  prayer  prevent  thee. 

14  Lord,  why  castest  thou  off  my  soul  ? 
Tf^Ay  liidest  thou  thy  face  from  me  ? 

15  I  am  afflicted  and  ready  to  die  from  my  youth  up  : 
'While  I  suffer  thy  terrors  I  am  distracted. 

16  Thy  fierce  wrath  goeth  over  me ; 
Thy  terrors  have  cut  me  off. 

IT  They  came  round  about  me  daily  like  water; 
They  compassed  me  about  together. 


< 


PSALM  LXXXIX.  1-27.  383 

18  Lover  and  friend  hast  thou  put  far  from  me, 
And  mine  acquaintance  into  darkness. 

This  Psalm  is  a  mournful  lamentation,  and  probably  con- 
stitutes, with  Psalm  Ixxxix,  really  one  poem.  The  first  part 
is  plaintive,  and  the  last  joyous.  The  long  title  of  Psalm 
Ixxxviii,  is  probably  intended  for  both  compositions.  It  is  as- 
cribed to  Heman.  He  was  one  of  David's  chief  singers,  as 
appears  from  I  Chron.  xv.  19.  He  is  called,  in  the  title,  the 
Ezrahite,  and  in  I  Chron.  vi.  33-38  a  Kohathite.  He  was  also 
probably  a  Korahite,  as  the  former  were  reckoned  in  the  line 
of  Korah  (I  Chron.  vi.  22,  37,  3S).  Heman,  then,  must  have 
been  a  descendant  of  some  person  by  the  name  of  Ezra,  who 
was  a  descendant  of  Korah.  It  is  generally  believed  that  Psalm 
Ixxxviii,  was  written  by  Heman,  as  its  title  indicates  ;  but  some 
have  doubts  upon  the  subject.    Mahli^lath  Ikinnoth  (j^iii^D 

ilbn^)      t^^®  title,  mean  sickness,  to  ajllci — aJHicfive  sickness. 

The  term  is  generally  believed  to  refer  to  music.  Mahhalath 
probably  means  lute  or  guitar.  Thus  the  whole  expression 
would  be  mournful  lute,  referring  to  the  character  of  the  Psalm 
(vid.  Rem.  on  Ps.  liii",  supra).  Selah  in  the  sense  of  silence, 
occurs  in  verses  7  and  10. 

Psalm  Ixxxix.  1-27. 

Maschil  of  Ethan  the  Ezrahite. 

1  I  will  sing  the  mercies  of  the  Lord  forever  : 

"With  my  mouth  will  I  make  known  thy  faithfulness 
to  all  generations. 

2  For  I  have  said,  Mercy  shall  be  built  up  forever  : 
Thy  fliithfulness  shalt  thou  establish  in  the  very  heav- 
ens. 

3  I  have  made  a  covenant  with  my  chosen, 
I  have  sworn  unto  David  my  servant. 

4  Thy  seed  will  I  establish  forever, 


884 


SONG  OF  ETHAN. 


And  build  up  thy  throne  to  all  generations.  Selah. 

5  And  the  heavens  shall  praise  thy  wonders,  0  Lord  : 
Thy  faithfulnevSS  also  in  the  congregation  of  the  saints. 

6  For  who  in  the  heavens  can  be  compared  unto  the 

Lord  ? 

WJio  among  the  sons  of  the  mighty  can  be  likened 
unto  the  Lord  ? 

7  God  is  greatly  to  be  feared  in  the  Jissembly  of  the 

saints. 

And  to  be  had  in  reverence  of  all  tliem  that  are  about 
him. 

8  0  Lord  God  of  hosts,  who  is  a  strong  Lord  like  unto 

thee? 

Or  to  thy  fcdthfulness  round  about  thee? 

9  Thou  rulest  the  raging  of  the  sea  : 

When  the  waves  thereof  arise,  thou  stillest  them. 

10  Thou  hast  broken  Eahab  in  pieces,  as  one  that  is  slain ; 
Thou  hast  scattered  thine  enemies  with  thy  strong  arm. 

11  The  heavens  are  thine,  the  earth  also  is  thine: 

As  for  the  w^orkl  and  the  fullness  thereof,  thou  hast 
founded  them. 

12  The  north  and  the  south  thou  hast  created  them : 
Tabor  and  Ilermon  shall  rejoice  in  thy  name. 

13  Thou  hast  a  i nighty  arm: 

Strong  is  thy  hand,  and  high  is  thy  right  hand. 

14  Justice  and  judgment  are  the  habitation  of  thy  throne : 
Mercy  and  truth  shall  go  before  thy  fiice. 

15  Blessed  is  the  people  that  know  the  joj'-ful  sound  : 
They  shall  walk,  O  Lord,  in  the  light  of  thy  counte- 
nance. 

16  In  thy  name  shall  they  rejoice  all  the  day: 
And  in  thy  righteousness  sliall  they  be  exalted. 

IT  For  thou  art  the  glory  of  their  strength : 
And  in  thy  favor  our  horn  shall  be  exalted. 


PSALM  XCII.  1-15.  385 

18  For  the  Lord  is  our  defence  ; 

And  the  Holy  One  of  Israel  is  our  King. 

19  Then  thou  spakest  in  vision  to  thy  holy  one,  and  saidst, 
'  I  have  hiid  help  upon  one  that  is  mighty ; 

I  have  exalted  one  chosen  out  of  the  people. 

20  I  have  found  David  my  servant ; 
With  my  holy  oil  have  I  anointed  him : 

21  With  whom  my  hand  shall  be  established ; 
Mine  arm  also  shall  streno;then  him. 

22  The  enemy  shall  not  exact  upon  him ; 
Nor  the  son  of  wickedness  afflict  him. 

23  And  I  will  beat  down  his  foes  before  his  face, 
And  plague  them  that  hate  him. 

24  But  my  faithfulness  and  my  mercy  shall  he  with  him: 
And  in  my  name  shall  his  horn  be  exalted. 

25  I  will  set  his  hand  also  in  the  sea, 
And  his  rio-ht  hand  in  the  rivers. 

o 

26  He  shall  cry  unto  me,  Thou  ai't  my  Father, 
My  God,  and  the  rock  of  my  salvation. 

27  Also  I  will  make  him  my  first-born, 
Higher  than  the  kings  of  the  earth. 

This  Psalm  seems  to  be  a  continuation  of  the  eighty-eighth. 
It  is  of  a  cheerful  character,  referring  to  blessed  promises. 
The  name  of  Ethan  is  inserted  in  the  title  as  the  author.  He 
was  an  Ezrahite  (I  Kings  iv.  31 ;  I  Chron.  ii.  6),  and  a  leader 
in  the  temple  music.  The  word  sing  occurs  in  the  first  verse, 
in  the  usual  sense.  Selah  is  found  in  verses  4  and  37,  in  the  sense 
of  silence^  and  in  verses  45  and  48  in  the  sense  of  halleluyah. 

Psalm  xcii.  1-15. 

A  Psalm  or  Song  for  the  SahhatJi  Day. 

1  It  is  a  good  thing  to  give  thanks  unto  the  Lord, 
And  to  sing  praises  unto  thy  name,  0  most  High ; 
17 


886 


SONG  FOR  THE  SABBATH. 


2  To  show  fortli  thy  loving-kindness  in  the  morning, 

And  thy  faithfulness  every  night, 
8  Upon  an  instrument  of  ten  strings,  and  upon  the  psal- 
^tery ; 

Upon  the  harp  with  a  solemn  sound. 

4  For  thou.  Lord,  hast  made  me  glad  through  thy 

work : 

I  will  triumph  in  the  works  of  thy  hands. 

5  0  Lord  how  great  are  thy  works ! 
And  thy  thoughts  are  very  deep. 

6  A  brutish  man  knoweth  not. 
Neither  doth  a  fool  understand  this 

7  When  the  wicked  spring  as  the  grass, 

And  when  all  the  workers  of  iniquity  do  flourish ; 
It  is  that  they  shall  be  destroyed  forever. 

8  But  thou,  Lord,  ai't  rnost  high  for  evermore. 

9  For  lo,  thine  enemies,  0  Lord, 
For  lo,  thine  enemies  shall  perish  ; 

All  the  workers  of  iniquity  shall  be  scattered. 

10  But  my  horn  shalt  thou  exalt  like  the  horn  of  an  uni- 

corn : 

I  shall  be  anointed  with  fresh  oil. 

11  Mine  eyes  also  shall  see  my  desire  on  mine  enemies, 
And  mine  ears  shall  hear  my  desire  of  the  wicked  that 

rise  up  against  me. 

12  The  righteous  shall  flourish  like  the  palm-tree : 
He  shall  grow  like  a  cedar  in  Lebanon. 

13  Those  that  be  planted  in  the  house  of  the  Lord 
Shall  flourish  in  the  courts  of  our  God. 

14  They  shall  still  bring  forth  fruit  in  old  age; 
They  shall  be  fat  and  flourishing ; 

15  To  show  that  the  Lord  is  upright: 

He  is  my  Kock,  and  there  is  no  unrighteousness  in 
bim. 


PSALM  XCVIII.  1-9. 


887 


This  is  a  Psalra  of  praise  in  commemoration  of  the  wisdom 
and  power  of  God,  manifested  in  his  dealings  with  both  the 
righteous  and  wicked.  The  last  part  of  the  title  informs  us 
that  the  psalm  was  intended  for  the  Sabbath.  Sing  occurs  in 
the  first  verse.  The  original  is  a  derivative  of  zamai\  meaning 
to  'prune ^  and  in  the  Peal  conjugation,  to  sing^  or  make  music. 
Alexander  translates  it  to  make  music  (vid.  Rem.  on  Ps.  xxxiii. 
2,  supra). 

Instrument  of  ten  strings  (v.  3). — The   Hebrew  ('^"('[2)3? 

T 

a50?'),  signifies  ten,  a  decade.  It  doubtless  here  refers  to  an  in- 
strument of  music,  and  seems  to  indicate  one  of  ten  strings.  The 
Septuagint  unites  the  psaltery  with  this  word,  and  translates 
the  two,  ten-stringed  psaltery.  But  the  two  words  are  separated 
in  the  Hebrew,  each  having  a  preposition  before  it,  and  obvi- 
ously referring  to  different  instruments  (vid.  Rem.  on  Ps.  xxxiii. 
2,  supra). 

Psaltery  (v.  3). — This  is  the  nebhel  (vid.  Rem.  on  I  Sam.  x. 
5  ;  II  Sam.  vi.  5). 

Harp  (v.  3). — This  is  the  kinnor  (in  the  Septuagint,  cithara^ 
vid.  Rem.  on  Gen.  iv.  21). 

.  In  Psalm  xcv.  1,  general  expressions  of  joy  and  triumph  ap- 
pear. In  Psalm  xcvi.  1  and  2,  occur  several  expressions  of  ex- 
ultation. 

Psalm  xcviii.  1-9. 

A  Psalm. 

1  0  Sing  unto  tbe  Lord  a  new  song  ; 
For  lie  hath  done  marvellous  things  : 
His  right  hand,  and  his  holy  arm, 
Hath  gotten  him  the  victory. 

2  The  Lord  hath  made  known  his  salvation  : 

His  righteousness  hath  he  openly  showed  in  the  sight 
of  the  heathen. 


388 


HEBREW  POETRY. 


3  He  hatli  remembered  liis  mercy  and  his  trutli  toward 

the  house  of  Israel : 
All  the  ends  of  the  earth  have  seen  the  salvation  of 
our  God. 

4  Make  a  joyful  noise  unto  the  Lord,  all  the  earth  ; 
Make  a  loud  noise,  and  rejoice,  and  sing  praise. 

5  Sing  unto  the  Lord  with  the  harp  ; 
With  the  harp,  and  the  voice  of  a  psalm. 

6  With  trumpets  and  sound  of  cornet, 

Make  a  joyful  noise  before  the  Lord,  the  King. 

7  Let  the  sea  roar,  and  the  fullness  thereof; 
The  world,  and  they  that  dwell  therein. 

8  Let  the  floods  clap  their  hands  ; 
Let  the  hills  be  joyful  together 

9  Before  the  Lord  ; 

For  he  cometh  to  judge  the  earth  : 

With  righteousness  shall  he  j  udge  the  world, 

And  the  people  with  equity. 

This  Psalm  is  filled  with  expressions  of  praise  to  God.  Its 
title  is  simply  mizmor^  mearxing  son^  or  poem.  This  word 
occurs  in  the  titles  of  several  psalms  ;  hut  in  no  other  does  it 
compose  the  whole  title.  In  verses  1,  4,  and  5,  general  expres- 
sions of  praise  and  triumph,  with  an  allusion  to  song,  occur. 
In  verse  5,  the  ki?inor,  translated  harp,  is  twice  found  (vid. 
Rem.  on  Gen.  iv.  21,  supra). 

Trumpets  (v.  6). — These  were  hdisoiseras,  or  straight  trum- 
pets (vid.  Rem.  on  Num.  x.  2 ;  11  Chron.  vii.  0). 

Cornet  (v.  6). — This  is  the  skophar  or  crooked  trumpet.  The 
cornet  was  a  wind  instrument ;  but  we  know  of  no  good  rea- 
son why  the  crooked  trumpet  should  be  thus  designated.  The 
Septuagint  has  oaXmyyog  KeparLvrjg,  salpinggos  keraiiiies,  mean- 
ing a  trumpet  made  of  horn  (vid.  Rem.  on  Ex.  xix.  16  ;  Lev. 
XXV.  9). 

In  Psalms  c.  2  ;  ci.  1  ;  cv.  2  ;  cvi.  12,  there  is  a  general  ref- 


PSALM  CXIX.  1-8;  169-176. 


389 


erence  to  singing  as  employed  in  praising  God.  In  Psalm 
cviii.  1,  3,  a  similar  reference  to  vocal  music  occurs.  In  verse 
2,  the  nebhel  and  kinnor  are  translated  psaltery  and  harp  ;  see 
remarks  on  I  Sam.  x.  5 ;  II  Sam.  vi.  5 ;  Gen.  iv.  21.  In  Psalm 
cxviii.  14,  song  occurs.  A  derivative  of  zamar  is  used  (vid. 
Rem.  on  Ex.  xv.  2). 

Psalm  cxix.1-8 ;  169-176. 

'  ALEPH. 

1  Blessed  are  the  ud  defiled  in  tlie  way, 
Who  walk  in  the  law  of  the  Lord. 

2  Blessed  are  they  that  keep  his  testimonies, 
And  that  seek  him  with  the  whole  heart. 

3  They  also  do  no  iniquity  : 
They  walk  in  his  ways. 

4  Thou  hast  commanded  us 

To  keep  thy  precepts  diligently. 

5  0  that  my  ways  were  directed 
To  keep  thy  statutes  ! 

6  Then  shall  I  not  be  ashamed 

When  I  have  respect  unto  all  thy  commandments. 

7  I  will  praise  thee  with  uprightness  of  heart, 
When  I  shall  have  learned  thy  righteous  judgments. 

8  I  will  keep  thy  statutes  : 
0  forsake  me  not  utterly. 

TAU. 

169  Let  my  cry  come  near  before  thee,  0  Lord  : 
Give  me  understanding  according  to  thy  word. 

170  Let  my  supplication  come  before  thee  : 
Deliver  me  according  to  thy  word. 

171  My  lips  shall  utter  praise, 

When  thou  hast  taught  me  thy  statutes. 


B90 


ALPHABETICAL  PSALM. 


172  My  tongue  sliall  speak  of  thy  word  : 

For  all  thy  commandments  are  righteousness. 

173  Let  thine  hand  help  me  ; 

For  I  have  chosen  thy  precepts. 

174  I  have  longed  for  thy  salvation,  0  Lord  : 
And  thy  law  is  my  delight. 

175  Let  my  soul  live,  and  it  shall  praise  thee  ; 
And  let  thy  judgments  help  me. 

176  I  have  gone  astray  like  a  lost  sheep  ; 

Seek  thy  servant ;  for  I  do  not  forget  thy  command- 
ments. 

Various  opinions  exist  in  respect  to  the  ohject  of  this  re- 
markahle  Psalm  ;  hut  the  most  probable  supposition  is  that  it 
was  intended  as  a  manual  of  instruction  for  youth  after  the 
return  of  the  Israelites  from  their  exile.  It  is  the  most  perfect 
specimen  of  an  alphabetical  psalm  which  we  have ;  being  di- 
vided into  twenty -two  paragraphs,  corresponding  with  the  let- 
ters of  the  Hebrew  alphabet,  and  each  paragraph  consists  of 
eight  verses,  all  beginning  with  the  same  Hebrew  letter  (vid. 
Rem.  on  Ps.  xxv,  supra).  In  verse  54  there  is  a  reference  to 
vocal  music. 

Psalm  cxx.  1-7. 

A  Psalm  of  Degrees. 

1  In  my  distress  I  cried  unto  the  Lord, 
And  he  heard  me. 

2  Deliver  my  soul,  0  Lord, 

From  lying  lips,  and  from  a  deceitful  tongue. 

3  What  shall  be  given  unto  thee? 

Or  what  shall  be  done  unto  thee,  thou  false  tongue? 

4  Sharp  arrows  of  the  mighty, 
With  coals  of  juniper. 


rSALM  CXX.  1-7. 


391 


5  Woe  is  me,  that  I  sojourn  in  Mesech, 
That  I  dwell  in  the  tents  of  Kedar? 

6  My  soul  hath  long  dwelt  with  him  that  hateth  peace. 

7  I  am  for  peace :  but  when  I  speak,  they  are  for  war. 

This  and  the  fourteen  following  Psalms  arc  designated  in  the 
titles  as  Songs  of  Degrees.    The  Hebrew  term  is  ^iJ^JTsH 

-j-.'^i  shir  Ivdmma'^hloth,  literally  song  of  the  steps,  trans- 
lated in  our  English  version  song  of  degrees.  The  LXX  trans- 
late the  terra  by  (^drf  rC)v  dvafiadjiQv,  ode  of  the  steps,  and  the 
Vulgate  has  carmen  graduvm,  song  of  the  steps.  In  accordance 
with  this  idea  the  ancient  Jewish  writers  supposed  that  these 
Psalms  were  sung  on  fifteen  stairs  of  the  temple,  leading  from  the 
court  of  Israel  to  the  court  of  the  women  (vid.  Mishn.i  Sucah, 
cap.  V.  4).  But  that  explanation  is  not  now  received  among 
critics  as  satisfactory.  Luther  translated  the  term  a  song  in 
the  higher  choir,  supposing  that  the  poem  was  sung  either  in  an 
elevated  position,  or  with  a  loud  voice.  Tholuck  takes  the  same 
view.  Gesenius  thinks  that  it  indicates  a  certain  number  or 
rhythm,  by  which  the  sense  ascends  as  it  were  by  degrees  or 
steps.  De  Wette  and  Winer  take  the  same  view  (De  Wette 
Einl.  in  das  A.  T.  p.  289).  But  this  characteristic  is  not  obvi- 
ous in  all  of  this  species  of  poetry.  The  most  probable  ex- 
planation is  that  of  Ewald,  Herder,  and  others,  who  suppose 
that  the  expression  means  song  of  the  ascents,  or  pilgrim  song^ 
sung  during  the  journey ings  of  the  Israelites  to  Jerusalem, 
either  from  Babylon,  or  as  they  repaired  to  that  city  statedly  to 
attend  their  national  solemnities.  Jerusalem,  and  especially 
the  temple,  were  elevated  and,  going  up  to  them  was  called  an 
ascent  (vid.  Ez.  vii.  9  ;  xxxiv.  24 ;  1  Kings  xii.  27,  28). 

In  Ps.  cxxvi.  2,  singing  occurs.  The  original  is  a  derivative 
of  ranan,  signifying  to  sing  aloud,  to  shout  (vid.  Rem.  on  Lev. 
ix.  24).  In  Ps.  cxxxii.  9,  16,  sltont  is  employed.  In  both 
cases  a  derivative  of  ranan  is  found  in  the  original.  In  Ps. 
cxxxv.  2,  the  term  sing  occurs.    The  original  word  is  a  deriva- 


392 


THE  REFRAIIT. 


tive  of  zamar,  to  prune ^  In  Peal  conjugation,  io  sing  (vid.  Rem. 
on  Ex.  XV.  2). 

Psalm  cxxxyi.  1-26. 

1  0  give  thanks  unto  the  Lord :  for  he  is  good : 
For  his  mercy  endureth  forever. 

2  O  give  thanks  unto  the  God  of  gods : 
For  his  mercy  endureth  forever. 

3  O  give  thanks  to  the  Lord  of  lords : 
For  his  mercy  endureth  forever. 

4  To  him  who  alone  doeth  great  wonders : 
For  his  mercy  endureth  forever. 

5  To  him  that  by  wisdom  made  the  heavens : 
For  his  mercy  endureth  forever. 

6  To  him  that  stretched   out  the  earth  above  the 

waters  : 

For  his  mercy  endureth  forever. 

7  To  him  that  made  great  lights : 
For  his  mercy  endureth  forever : 

8  The  sun  to  rule  by  day : 

For  his  mercy  endureth  forever: 

9  The  moon  and  stars  to  rule  by  night : 
For  his  mercy  endureth  forever : 

10  To  him  that  smote  Egypt  in  their  first-born: 
For  his  mercy  endureth  forever: 

11  And  brought  out  Israel  from  among  them : 
For  his  mercy  endureth  forever : 

12  With  a  strong  hand,  and  with  a  stretched-out  arm : 
For  his  mercy  endureth  forever. 

13  To  him  which  divided  the  Eed  Sea  into  parts: 
For  his  mercy  endureth  forever : 

14  And  made  Israel  to  pass  through  the  midst  of  it : 
For  his  mercy  endureth  forever : 


PSALM  CXXXYI.  1-26. 


893 


15  But  overthrew  Pharaoli  and  his  host  in  the  Red  Sea : 
For  his  mercy  endureth  forever : 

16  To  him  which  led  his  people  through  the  wilderness; 
For  his  mercy  endureth  forever. 

17  To  him  which  smote  great  kings : 
For  his  mercy  endureth  forever : 

18  And  slew  famous  kings  : 

For  his  mercy  endureth  forever  : 

19  Sihon  king  of  the  Amorites : 
For  his  mercy  endureth  forever : 

20  And  Og  the  king  of  Bashan : 
For  his  mercy  endureth  forever : 

21  And  gave  their  land  for  an  heritage : 
For  his  mercy  endureth  forever : 

22  Even  an  heritage  unto  Israel  his  servant: 
For  his  mercy  endureth  forever. 

23  Who  remembered  us  in  our  low  estate: 
For  his  mercy  endureth  forever : 

24  And  hath  redeemed  us  from  our  enemies : 
For  his  mercy  endureth  forever. 

25  "Who  giveth  food  to  all  flesh : 

y      For  his  mercy  endureth  forever. 

26  0  give  thanks  unto  the  Grod  of  heaven : 
For  his  mercy  endureth  forever. 

This  Psalm  is  remarkable  from  the  fact  that  a  burden  or  re- 
frain^ as  it  is  called,  occurs  regularly  at  the  end  of  every  verse. 
Some  biblical  critics  suppose  that  alternate  or  responsive  choirs 
are  indicated  by  it.  Others  think  that  the  singers  sometimes 
answered  their  own  questions,  and  others  still,  that  the  people 
united  in  a  kind  of  chorus.  The  latter  is  probably  the  correct 
view.  The  choir  repeated  the  first  part  of  the  verse,  and  then  the 
multitude  jomed  in  a  chorus,  and  repeated  the  latter  part  of 
each  verse. 


394 


PLAINTIVE  SOXG. 


Psalm  cxxxvii.  1-9. 

We  give  Herder's  translation : 

THE  CAPTIVITY  IN  BABYLON. 

1  By  the  rivers  of  Babylon  we  sat  down, 
And  wept,  when  we  remembered  Zion. 

2  We  hanged  our  harps  upon  their  willows. 

3  For  they,  that  held  us  in  captivity, 
Eequired  of  us  a  song, 

Our  oppressors  required  of  us  mirth. 
"  Sing  us  one  of  the  songs  of  Zion." 

4  How  shall  we  sing  Jehovah's  song 
In  a  foreign  land  ! 

5  If  I  forget  thee,  0  Jerusalem ! 
Let  my  right  hand  forget  me, 

Let  my  tongue  cleave  to  the  roof  of  my  mouth. 

6  If  I  do  not  remember  thee, 
If  I  prefer  not  Jerusalem 
Above  my  highest  joy. 

7  Eemember,  O  Lord,  the  children  of  Edom. 
In  the  day  of  Jerusalem's  affliction, 

When  they  cried  "  Eaze  it, 
Eaze  it,  even  to  its  foundation." 

8  Daughter  of  Babylon,  the  desolate, 
Blessed  be  he  that  requiteth  thee, 

That  requiteth  thee,  as  thou  hast  done  to  us. 

9  Happy  shall  he  be  that  seizeth  thy  little  ones, 
And  casteth  them  upon  the  rocks. 

This  is  a  beautiful  Psalm  of  the  plaintive  kind.  It  refers 
directly  to  the  captivity  of  the  Hebrews  in  Babylonia.  As 
they  thought  of  their  religious  privileges  in  Palestine,  they 
could  not  be  cheerful.  They  could  not  sing  the  songs  of  Zion, 
nor  play  upon  their  instruments  of  music.    They  hung  their 


PSALM  CXLIV.  1-15. 


395 


harps  upon  the  willows.  Here  seems  to  be  a  difficulty,  as  his- 
tory informs  us  that  no  willows  grow  in  Babylonia.  We  must 
then  suppose  that  the  language  is  figurative,  and  merely  indi- 
cates that  the  Jews  could  neither  sing,  nor  play  on  instruments. 
The  willow  tree  usually  grows  on  the  banks  of  rivers,  hence 
that  particular  tree  is  mentioned.  This  is  a  beautiful  and  pa- 
thetic elegy,  flowing  in  the  most  tender  and  mournful  strains. 

Harps  (v.  2). — These  were  kinnors,  probably  somewhat  simi- 
lar to  harps  at  this  day,  for,  at  the  time  of  the  Babylonish  cap- 
tivity, when  this  Psalm  is  supposed  to  have  been  ^\^:•itten,  that 
instrument  had  been  much  improved.  Its  number  of  strings 
had  been  multiplied  from  three  to  an  indefinite  number.  More 
than  500  years  earlier,  during  the  reign  of  David  in  Jerusalem, 
the  harp  had  reached  a  high  state  of  improvement,  and,  in  the 
hands  of  that  monarch,  chanted  forth  elevated  strains  of  music 
(vid.  Rem.  on  Gen.  iv.  21). 

In  verses  2  and  3,  sinff  and  soiif/  are  used,  but  are  derivatives 
of  the  usual  term  [sh'i?-). 

In  Psalm  cxxxviii.  1  and  5,  sin^  occurs.  In  verse  1,  a  deriva- 
tive of  zamar  is  used,  meaning  to  sing  with  vociferation,  to 
shout.  In  verse  5,  a  derivative  of  the  usual  term  (^sh'ir)  is  em- 
ployed. In  Psalm  cxl.  3,  5,  and  8,  selah  occurs,  probably  in  the 
sense  of  silence.  In  Psalm  cxliii.  6,  selah  occurs,  probably  in 
the  sense  of  halleluyah. 

Psalm  cxliv.  1-15. 

A  Psalm  of  David. 

1  Blessed  he  the  Lord  my  strength, 
Which  teacbeth  my  hands  to  war, 
And  my  fingers  to  fight ; 

2  My  goodness,  and  my  fortress; 
My  high  tower,  and  my  deliverer ; 
My  shield,  and  he  in  whom  I  trust; 
Who  subdaeth  my  people  under  me. 


396 


PSALM  OF  DAVID. 


3  Lord,  what  is  man,  that  thou  takest  knowledge  of 

him? 

Or  the  son  of  man,  that  thou  makest  account  of 
him  ? 

4  Man  is  like  to  vanity : 

His  days  are  as  a  shadow  that  passeth  away. 

5  Bow  thy  heavens,  0  Lord,  and  come  down : 
Touch  the  mountains,  and  they  shall  smoke. 

6  Cast  forth  lightning,  and  scatter  them : 
Shoot  out  thine  arrows,  and  destroy  them. 

Y  Send  thine  hand  from  above ; 

Eid  me,  and  deliver  me  out  of  great  waters. 
From  the  hand  of  strange  children ; 

8  Whose  mouth  speaketh  vanity, 

And  their  right  hand  is  a  right  hand  of  falsehood. 

9  I  will  sing  a  new  song  unto  thee,  0  God : 

Upon  a  psaltery  and  an  instrument  of  ten  strings 
Will  I  sing  praises  unto  thee. 

10  It  is  he  that  giveth  salvation  unto  kings. 

Who  delivereth  David  his  servant  from  the  hurtful 
sword. 

11  Eid  me,  and  deliver  me  from  the  hand  of  strange 

children. 
Whose  mouth  speaketh  vanity. 
And  their  right  hand  is  a  right  hand  of  falsehood : 

12  That  our  sons  may  he  as  plants  grown  up  in  their 

youth ; 

That  our  daughters  may  he  as  corner-stones, 
Polished  after  the  similitude  of  a  palace : 

13  That  our  garners  may  he  full. 
Affording  all  manner  of  store ; 

That  our  sheep  may  bring  forth  thousands 
And  ten  thousands  in  our  streets: 

14  That  our  oxen  may  he  strong  to  labor ; 


PSALM  CXLIV.  1-15. 


397 


That  there  "be  no  breaking  in,  nor  going  out : 
That  there  he  no  complaining  in  our  streets. 
15  Happy  is  that  people  that  is  in  such  a  case ; 

Yea^  happy  is  that  people  whose  Grod  ^',9  the  Lord. 

In  verse  9,  the  Psalmist,  in  exultation,  declares  that  he  will 
sing  a  new  song  to  the  Lord  his  deliverer,  upon  the  j^sallerg  and 
a?i  instrument  of  ten  strings.  Sh'ir  is  the  original,  translated 
song^  and  a  derivative  of  the  same  is  translated  sing^  in  the 
same  verse.  The  expression,  a  new  song,  indicates,  probably, 
a  new  occasion  for  singing  praises  to  God. 

Upon  the  psaltery  and  an  instrument  of  ten  strings  will  I  sing 
praises  unto  thee. — Prof.  Alexander  translates  the  passage  thus  : 
With  a  lyre  of  ten  (strings)  /  will  play  (or  make  music)  to  thee. 
This  is  certainly  the  literal  meaning  of  the  original,  and  we 
perceive  no  good  reason  why  asor  (^li'jTJj?)  translated  in  our 

T 

English  version,  an  instrinnent  of  ten  strings,  should  not  be  re- 
ferred to  the  nebhel  (5^2^)  rendered  i)saltery.    Gesenius  and 

other  eminent  scholars  take  the  same  view.  We  should  prefer 
to  translate  nehhel  by  guitar  rather  than  lyre  (vid.  Rem.  on  I 
Sam.  X.  5).  This  instrument  in  very  early  times  had  five,  and 
subsequently  ten  and  twelve,  strings.  The  last  verb  in  the  verse 
is  from  zamar,  which  signifies  to  shout,  to  make  a  trernuloiis 
vociferation  or  sound,  and  may  refer  to  the  voice,  or  to  a  musi- 
cal instrument.  The  same  Hebrew  word  is  used  in  Psalm  cxhi. 
2,  translated  sing,  and  indicates  the  exultation  by  which  the 
Psalmist  would  praise  Jehovah. 

In  Psalm  cxlvii.  1,  7,  zamar  is  translated  sing  once  in  each 
verse. 

In  the  first  part  of  verse  7  the  original  for  sing  is  ^nu 
(:]53?)  and  indicates  a  shout,  or  song  of  triumph  (vid.  Rem. 

on  Ex.  xxxii.  18). 

Harp  (v.  7). — Tliis  is  the  kinnor  (vid.  Rem.  on  Gen.  iv. 
21). 


898 


TRIUMPHAL  HYMN". 


Psal:m  cxlix.  1-9. 

1  Praise  ye  the  Lord. 

Sing  unto  the  Lord  a  new  song. 

And  bis  praise  in  the  congregation  of  saints. 

2  Let  Israel  rejoice  in  him  that  made  him; 

Let  the  children  of  Zion  be  joyful  in  their  King. 

3  Let  them  praise  his  name  in  the  dance : 

Let  them  sing  praises  unto  him  with  the  timbrel  and 
harp. 

4  For  the  Lord  taketh  pleasure  in  his  people  : 
He  will  beautify  the  meek  with  salvation. 

5  Let  the  saints  be  joyful  in  glory  : 
Let  them  sing  aloud  upon  their  beds. 

6  Let  the        praises  of  God  he  in  their  mouth, 
And  a  two-edged  sword  in  their  hand ; 

7  To  execute  vengeance  upon  the  heathen, 
And  punishments  upon  the  people ; 

8  To  bind  their  kings  with  chains, 
And  their  nobles  with  fetters  of  iron  ; 

9  To  execute  upon  them  the  judgment  written: 
This  honor  have  all  his  saints. 

Praise  ye  the  Lord. 

This  Psalm  is  full  of  expressions  of  triumph  and  praise  to 
God,  m  view  of  the  fact  that  Jerusalem  and  the  Jewish  nation, 
under  the  administration  of  Nehemiah,  had  been  fortified  and 
made  secure  from  the  attacks  of  their  foes. 

Song  (v.  1). — Shir  is  here  used.  The  verh  also  appears  in 
the  first  part  of  the  verse.  Dance  (v.  3),  a  derivative  of  Tihul 
(J^n)?  usual  term,  is  employed  (vid.  Eem.  on  Ex.  xv. 
20).  Sing  (v.  3),  properly  ^lay  in  this  place,  as  the  term  (a 
derivative  of  znmai-)  relates  to  the  performance  on  the  ioyh  and 
Jcinnor^  mentioned  m  immediate  connection.  The  to]jh  is  a  per- 
cussion instrument,  sometimes  called  iabret,  iabor,  and  tambou- 


PSALM  CL.  1-6. 


399 


rine  (vid.  Rem.  on  Gen.  xxxi.  27).  The  Tcinnor  is  our  harp 
(vid.  Rem.  on  Gen.  iv.  21). 

PSAM  cl.  1-6. 

1  Praise  je  the  Lord. 

Praise  God  in  his  sanctuary  : 

Praise  him  in  the  firmament  of  his  power. 

2  Praise  him  for  his  mighty  acts  : 

Praise  him  according  to  his  excellent  greatness. 
8  Praise  him  with  the  sound  of  the  trumpet  : 
Praise  him  with  the  psaltery  and  harp. 

4  Praise  him  with  the  timbrel  and  dance  : 
Praise  him  with  stringed  instruments  and  organs. 

5  Praise  him  upon  the  loud  cymbals : 
Praise  him  upon  the  high-sounding  cymbals. 

6  Let  everything  that  hath  breath  praise  the  Lord. 
Praise  j^e  the  Lord. 

This  brief  poem  contains  a  remarkably  simple,  yet  pathetic 
and  sublime  burst  of  triumphant  praise  to  Jehovah.  It  is  a 
kind  of  halleluyah  psalm  or  doxology,  elegantly  closing  the 
beautiful  melodies  of  the  book. 

Sound  of  the  trumpet. — This  is  the  shophar^  or  crooked 
trumpet.  The  phrase  might  be  rendered  blast  of  the  trumpet. 
The  original  of  blast  is  a  derivative  of  taqa  (>p5Sn)-    ^7  this 

peculiar  sound,  the  Israelites  were  called  together  on  important 
occasions,  and  but  one  blast  was  given.  The  Psalmist,  by  a 
bold  personification,  would  seem  to  indicate  that  one  tremen- 
dous blast  was  to  be  made  to  call  all  animate  and  inanimate  na- 
ture together,  for  the  purpose  of  uttering  the  praises  of  Al- 
mighty God. 

Psaltery  and  harp  (v.  3.) — These  are  the  nebhel  [guitar)  and 
kinnor. 

Timbrel  (v.  4). — This  is  the  toph^  a  pulsatile  instrument  (vid. 
Rem.  on  Gen.  xxxi.  27). 


400 


A  SPURIOUS  PSALM. 


Dance  (v.  4). — For  this  the  same  Hebrew  word  is  employed 
as  in  Psalm  cxlix.  3  (ibid). 

Stringed  instruments  (v.  4). — Literally  strings.  The  He- 
brew term  is  {minnUn),  from       (men),  meaning  a  part 

or  portion,  and  in  the  plural  strings,  evidently  indicating  all 
kinds  of  stringed  instruments  (vid.  Rem.  on  Gen.  iv.  21 ;  Job 
XXX.  9  ;  Ps.  iv.  title).  The  Septuagint  has  xopdaig  (chordais), 
chords,  strings. 

Organs  (v.  4). — It  should  be  organ  ov  pipe,  as  the  original 
ugabh   is  in  the  singular  number  (vid.  Rem.  on  Gen.  iv.  21). 

Loud  Cymbals  (v.  5). — These  were  pulsatile  instruments. 
The  Hebrew  term  is  'ij^j^^iji;^  {tsilts^ley),  meaning  literally 
cymbals  of  sound,  probably  referring  to  the  smaller  instrument 
of  this  kind  (vid.  Rem.  on  II  Sam.  vi.  5). 

High-sounding  cymbals  (v.  5). — The  same  word  for  cymbals 
is  used  in  the  original  as  in  the  first  part  of  the  verse.  The  term 
translated  high-sounding  is  H^^ltl  {i^ru ah),  and  signifies  a  loud 

T  : 

noise,  a  tumult,  indicating  that  these  cymbals  were  the  larger 
kind,  as  explained  in  our  remarks  on  II  Sam.  vi.  5.  The  three 
classes  of  musical  instruments — wind,  stringed,  and  pulsatile — 
are  here  mentioned.  The  writer  undoubtedly  intended  to  in- 
clude all  kinds  of  musical  instruments  of  every  description. 
He  finally  closes  the  poem  by  calling  upon  everything  that 
hath  breath  to  praise  the  Lord;  thus  elegantly  completing  this 
admirable  collection  of  the  songs  of  Zion. 

The  Septuagint  contains  another  psalm  numbered  cli.  Dr. 
A.  Clarke's  translation  of  it  is  the  following  : 

Psalm  cli.  1-8. 

Psalm,  in  the  hand-writing  of  David,  bhyond  the  number  of  the 
Psalms,  composed  by  David,  when  he  fought  in  single  combat  with 
Goliath:' 

1  I  was  the  least  among  my  brethren, 
And  the  youngest  in  my  father's  house  ; 


PSALM  CLT.  1-8. 


401 


And  I  kept  also  my  father's  sheep. 

2  My  hands  made  the  organ, 

And  my  fingers  jointed  the  psaltery. 

3  And  who  told  it  to  my  Lord? 

{Ai'ah.  And  who  is  he  who  taught  me  ?) 
The  Lord  himself,  he  is  my  Master, 
And  the  hearer  of  all  that  call  upon  him. 

4  He  sent  his  angel  and  took  me  away  from  my  father's 

sheep  : 

And  anointed  me  with  the  oil  of  his  anointing. 

5  M}^  brethren  were  taller  and  more  beautiful  than  I : 
Nevertheless  the  Lord  delighted  not  in  them. 

6  I  went  out  to  meet  the  Philistine, 
And  he  cursed  me  by  his  idols. 

7  (In  the  strength  of  the  Lord  I  cast  three  stones  at  him. 
I  smote  him  in  the  forehead,  and  felled  him  to  the 

earth.  Arah.) 

8  And  I  drew  out  his  own  sword  from  its  sheath,  and 

cut  off  his  head. 
And  took  away  the  reproach  from  the  children  of  Is- 
rael. 

This  Psalm  is  found  in  the  Syriac,  Arabic,  and  ^Ethiopic  ver- 
sions of  the  scriptures.  David's  contest  with  Goliath  is  the 
subject  of  the  poem.  It  is  evidently  very  ancient,  as  it  is  found 
in  the  Codex  Alexandrinus,  which  is  a  production  of  the  sixth 
century.  It  has  never  been  inserted,  however,  in  the  Hebrew 
scriptures,  and  has  been  invariably  rejected  by  the  Fathers. 
Furthermore,  it  is  not  written  in  the  style  of  David,  though 
ascribed  to  him,  and  is  evidently  spurious.  Every  Council  held 
in  the  Christian  church  has  rejected  it,  and  scholars  almost  uni- 
versally consider  it  as  of  little  account.  There  is  an  allusion  to 
music  in  the  second  verse.  Organ  and psallerT/  occur.  Opyavov 
organon^  and  ipaATrjQcov  psalterion,  are  the  original  words,  in- 
dicating, doubtless,  the  i/gabh   or  organ,  and  nebhel  or  guitar. 


BOOK  OF  PKOYERBS. 


THE  BOOK  OF  PROVERBS. 

INTRODUCTORY  REMARKS. 

This  book  is  ascribed  to  Solomon.  Probably  he  did 
not  compose  the  whole  of  it,  but  collected  a  portion  from 
different  sources.  All,  after  the  beginning  of  the  twenty- 
fifth  chapter,  we  are  informed,  was  added  by  order  of 
King  Hezekiah.  It  is  generally  believed  by  biblical 
scholars,  that  the  collection,  as  we  now  have  it,  was  ar- 
ranged by  different  persons  ;  but  mostlj^  composed  and 
arranged  by  Solomon.  There  are  numerous  quotations 
from  the  bo9k  in  the  New  Testament,  thus  clearly  estab- 
lishing its  canonicity.  This  kind  of  composition  is  very 
ancient,  and  adapted  to  the  rudest  state  of  society.  The 
inhabitants  of  Palestine  and  other  oriental  nations  were 
accustomed  to  utter  aphorisms,  or  brief,  sententious  say- 
ings. Subsequently  metaphors  and  other  embellishments 
of  stjde  were  employed.  The  teachers  of  religion,  in 
many  cases,  rather  commanded  than  reasoned.  Bishop 
Lowth  mentions  three  characteristics  of  the  proverbial 
style,  viz :  brevity,  obscurity,  and  elegance.  The  first  is 
obviously  striking,  and  universal  in  this  kind  of  writing. 
It  is  apparent  from  the  etymology  of  the  word  proverhia, 
meaning  ybr  words,  i.  e.,  one  word  for  many.  Ohscurity 
is  a  characteristic  of  some  proverbs,  but  is  not  universal 
in  that  kind  of  composition.  Elegance  of  diction  is 
sometimes  found,  though  it  is  by  no  means  universal. 
Another  striking  characteristic  of  proverbial  writings  is 
concentration  of  thought— jpoint.  This  is  found  probably 
in  every  proverb,  and  sometimes  takes  the  antithetic  form. 
The  brevity,  pointed  character,  and  boldness  of  this  spe- 


PROVERBS  II.  1-5. 


403 


cies  of  composition,  make  it  a  very  favorable  medium  for 
conve3'ing  thought. 

The  object  of  the  Book  of  Proverbs  is  to  instruct  man- 
kind in  the  principles  of  true  wisdom,  which  is  the  knowl- 
edge and  fear  of  the  Lord.  It  contains  an  immense  va- 
riety of  choice  sayings,  embracing  various  principles  of 
morality,  doctrine,  and  practical  considerations  in  respect 
to  our  duties  to  God,  our  fellow-men,  and  ourselves. 

Bishop  Lowth  considers  this  book  as  didactic  poetry. 
It  abounds  with  that  remarkable  characteristic  of  Hebrew 
poetry,  parallelism,  consisting  in  a  resemblance  as  to 
thought  or  form,  or  both,  between  the  members  of  a 
period.  Lowth  divides  the  parallelism  of  Proverbs  into 
synonymous^  or  that  in  which  there  are  but  two  members, 
the  latter  repeating  the  idea  contained  in  the  former ;  and 
antithetic^  or  that  in  which  the  last  member  is  an  antithet- 
ic expression  commencing  with  hut.  An  instance  of  the 
first  kind  is  found  in  Prov.  ii.  1-5  : 

"  My  son,  if  thou  wilt  receive  my  words. 
And  hide  my  commandments  with  thee  ; 
So  that  thou  incline  thine  ear  to  wisdom. 
And  apply  thy  heart  to  understanding ; 
Yea,  if  thou  criest  after  knowledge. 
And  liftest  up  thy  voice  for  understanding ; 
If  thou  seekest  her  as  silver, 
And  searchest  for  her  as  for  hid  treasures  ; 
Then  shalt  thou  understand  the  fear  of  the  Lord, 
And  find  the  knowledo-e  of  God." 

o 

An  instance  of  the  second  kind  is  found  in  Prov.  x. 
27-29 : 

"  The  fear  of  the  Lord  prolongeth  days  ; 
But  the  years  of  the  wicked  shall  be  shortened. 
The  hope  of  the  righteous  shall  be  gladness ; 


PROVERBS  OF  SOLOMON. 


But  the  expectation  of  the  wicked  shall  perish. 
The  way  of  the  Lord  is  strength  to  the  upright ; 
But  destruction  shall  be  to  the  workers  of  iniquity." 

The  first  nine  chapters  of  Proverbs  are  very  different 
from  the  other  parts  of  the  book,  and  seem  to  be  a  kind 
of  proem,  or  exordium,  containing  a  continuous  discourse, 
and  are  supposed  to  have  been  committed  to  writing, 
while  the  more  disconnected  aphorisms  of  the  other  parts 
were  merely  uttered  verbally.  The  first  part  of  the  book 
abounds  with  beautiful  figures  and  illustrations,  and  ranks 
with  the  highest  style  of  poetry.  The  personification  of 
wisdom  is  truly  elegant,  and  is  one  of  the  finest  specimens 
of  Prosopopeia  to  be  found  in  the  scriptures.  From  chap- 
ter X.  to  xxii.  17,  the  style  is  entirely  different.  That 
part  of  the  poem  consists  of  pointed,  but  disconnected, 
aphorisms  of  a  varied  character.  From  chapter  xxii.  17) 
to  chapter  xxv.  the  style  is  more  ornate,  though  not  so 
elegant  as  in  the  exordium.  The  remainder  of  the  book 
consists  of  detached  maxims,  with  the  exception  of  the 
thirtieth  and  thirty-first  chapters,  which  are  ascribed  to 
Agur  and  the  mother  of  king  Lemuel.  The  thirtieth 
chapter  consists  principally  of  enigmas.  This  species  of 
poetry  is  frequent  in  the  scriptures.*  These  sayings  are 
supposed  to  have  been  composed  about  1000  years  B.  C. 

There  are  hut  few  allusions  to  music  in  the  book,  hi  Prov. 
xi.  10,  sJiouting  occurs,  referring  to  the  destruction  of  the 
wicked.  The  original  is  a  derivative  of  rcuia/i,  indicating  a 
tremulous,  exciting  sound. 

Singeih  songs  (xxv.  20). — The  usual  terms  are  here  em- 
ployed. In  Prov.  xxix.  6,  a  derivative  of  ranan  is  employed, 
and  translated  sing,  denoting  the  triumph  of  the  righteous. 

*  Vid.  Judges  xiv.  12-18 ;  Ezra  xvii.  in  which  the  king  of  Babylon  is  com- 
pared to  an  eagle ;  Jer.  xiii.  1-11 ;  xviii,  1-6 ;  xxiv.  1-10. 


BOOK  OF  ECCLESIASTES. 


405 


THE  BOOK  OF  ECCLESIASTES. 

INTRODUCTORY  REMARKS. 

The  name  of  this  book  in  Hebrew  is  Qoheleth  (ri^i^'p 
"wbich  is  generally  considered  as  an  epithet  of  Solomon. 
It  is  translated  in  the  Septuagint  by  'EfcicXTjaLaorrig  {EkMe- 
siastes)^  which  is  the  term  employed  in  our  English  Bible, 
and  signifies  a  preacher^  or  one  who  addresses  a  public 
assembly.  The  book  is  a  kind  of  philosophical  treatise, 
and  was  evidently  composed  by  Solomon,  though  it  does 
not  bear  his  name  (cf.  Eccl.  i.  12,  16 ;  xi.  4-9  ;  xii.  9,  10). 
That  monarch  probably  found  that  the  Hebrew  language 
was  not  sufficient  to  express  his  ideas,  and  made  use,  to 
some  extent,  of  the  popular  Chaldaic  dialect.  Solomon 
seems  to  have  prepared  this  composition  in  his  old  age, 
after  having  tried  the  pleasures,  honors,  and  riches  of  the 
world,  and  become  thoroughly  convinced  that  nothing  but 
true  piety  was  really  valuable.  Ecclesiastes  is  classed  by 
Bishop  Lowth  among  the  didactic  poems  of  the  Hebrews. 
He  afterwards,  however,  assents  to  the  view  of  Des  Yoeux, 
who  considers  it  as  a  philosophical  discourse  interspersed 
with  poetry. 

The  book  possesses,  in  a  small  degree,  the  characteristics 
of  poetry,  and  partakes  of  the  conversational  style.  The 
following  is  a  synopsis  of  it,  by  G.  Holden. 

Part  I.  The  vanity  of  all  earthly  conditions,  oc- 
cupations, AND  pleasures. 
Sect.  I.  The  vanity  of  all  earthly  things  (i.  2). 
Sect.  IT.  The  unprofitableness  of  human  labor,  and  the 
transitoriness  of  human  life  (i.  3-11). 


406 


SYNOPSIS  OF  ECCLESIASTES. 


Sect.  III.  The  vanity  of  laborious  inquiries  into  the 

ways  and  works  of  man  (i.  12-18). 
Sect.  IY.  Luxury  and  pleasure  are  only  vanity  and 

vexation  of  spirit  (ii.  1-11). 
Sect.  V.  Though  the  wise  excel  fools,  yet,  as  death 

happens  to  them  both,  human  learning  is  but  vanity 

(ii.  12-17). 

Sect.  YI.  The  vanity  of  human  labor,  in  leaving  it 

they  know  not  to  whom  (ii.  18-23). 
Sect.  YII.  The  emptiness  of  sensual  enjoyments  (ii. 

24-26). 

Sect.  YIII.  Though  there  is  a  proper  time  for  the  ex- 
ecution of  all  human  purposes,  yet  are  they  useless 
and  vain  ;  the  divine  counsels,  however,  are  immuta- 
ble (iii.  1-14). 

Sect.  IX.  The  vanity  of  human  pursuits  proved  from 
the  wickedness  prevailing  in  courts  of  justice,  con- 
trasted with  the  righteous  judgment  of  God  (iii.  15- 

Sect.  X.  Though  life,  considered  in  itself,  is  vanity,  for 
men  die  as  well  as  beasts,  yet  in  the  end  it  will  be 
very  different  with  the  spirit  of  man  and  that  of 
beasts  (iii.  18-22). 

Sect.  XI.  Yanity  is  increased  unto  men  by  oppression 
(iv.  1-3). 

Sect.  XII.  The  vanity  of  prosperity  (iv.  4). 

Sect.  XIII.  The  vanity  of  folly,  or  of  preferring  the 
world  to  True  Wisdom  (iv.  5,  6). 

Sect.  XIY.  The  vanity  of  covetousness  (iv.  7,  8). 

Sect.  XY.  Though  society  has  its  advantages,  yet  do- 
minion and  empire  are  but  vanity  (iv.  9-16). 

Sect.  XYI.  Errors  in  the  performance  of  divine  wor- 
ship, which  render  it  vain  and  unprofitable  (v.  1-7). 

Sect.  XYII.  The  vanity  of  murmuring  at  injustice; 


SYNOPSIS  OF  ECCLESIASTES. 


407 


for,  though  the  oppression  of  the  poor  and  the  per- 
version of  judgment  greatly  prevail,  they  do  not  es- 
cape the  notice  of  the  Almighty  (v.  8,  9). 

Sect.  XYIII.  The  vanity  of  riches ;  with  an  admo- 
nition as  to  the  moderate  enjoyment  of  them  (v.  10-20). 

Sect.  XIX.  The  vanity  of  avarice  (vi.  1-9). 

Part  II.  The  nature,  excellence,  ani>  beneficial. 

EFFECTS  OF  WISDOM  OR  RELIGION. 

Sect.  XX.  Since  all  human  designs,  labors,  and  enjoy- 
ments are  vain,  it  is  natural  to  inquire,  What  is  good 
for  man  ?  What  is  his  supreme  good  ?  (vi.  10-12). 
The  answer  is  contained  in  the  remainder  of  the  book.. 

Sect.  XXI.  The  praise  of  character  and  reputation  (vii. 

!)•  ^ 

Sect.  XXII.  Affliction  improves  the  heart,  and  exalts 

the  character  of  the  wise  (vii.  2-10). 
Sect.  XXIII.  The  excellence  of  Wisdom  (vii.  11-14). 
Sect.  XXI Y.  An  objection,  with  the  answer  (vii.  15  ; 

viii.  7). 

Sect.  XXY.  The  evil  of  wickedness  shows  the  advan- 
tage of  True  Wisdom  (viii.  8-13). 
Sect.  XXYI.  An  objection,  with  the  answer  (viii.  14; 

ix.  1). 

Sect.  XXYII.  An  objection,  with  the  answer  (ix.  2  ;  x. 
17). 

Sect.  XXYIII.  The  banefulness  of  sloth  (x.  18). 

Sect.  XXIX.  The  power  of  wealth  (x.  19). 

Sect.  XXX.  An  exhortation  against  speaking  evil  of 

dignities  (x.  20). 
Sect.  XXXI.  Exhortation  to  charity  and  benevolence 

(xi.  1-10). 

Sect.  XXXII.  An  exhortation  to  the  early  cultivation 
of  Keligious  Habits  (xiii.  1-7). 


408 


BOOK  OF  ECCLESIASTES. 


Sect.  XXXIII.  The  conclusion  (xii.  8-14). 
The  allusions  to  music  in  the  book  are  very  few. 

ECCLESIASTES  ii.  8. 

I  gathered  me  also  silver  and  gold,  and  the 
peculiar  treasure  of  kings  and  of  the  provinces ;  I 
gat  me  men-singers  and  women-singers,  and  the  de- 
lights of  the  sons  of  men,  as  musical  instruments, 
and  that  of  all  sorts. 

Men-singers — women-singers. — The  plural  masculine  and  femi- 
nine of  the  usual  term  shir,  are  here  employed. 

Musical  instruments,  and  that  of  all  sorts. — The  original  of 
this  signifies  -simply  wife  and  wives.  Gesenius  remarks  that  the 
singular  noun  may  refer  to  the  queen,  and  the  plural  to  the 
king's  other  wives  and  concubines.  The  vrord  here  employed 
denotes,  in  the  Talmud,  a  iooman''s  camel  saddle.  In  the  Arabic 
it  signifies  the  same.  The  Septuagint  has  OLvoxoog  (oi)iochoos), 
a  cup-hearer.  It  is  a  very  obscure  term,  and  scholars  have  ex- 
pressed various  opinions  in  respect  to  its  derivation.  From 
the  context  it  is  evident  that  it  refers  to  some  kind  of  enjoy- 
ment, and  its  etymology  would  indicate  that  that  enjoyment 
was  connected  in  some  way  with  females.  As  music  was  often 
practised  by  them,  there  may  be  a  remote  reference  to  the  art. 
The  word  translated  delights,  may  include  music,  among  other 
things  adapted  to  produce  enjoyment. 

In  Eccl.  iii.  4,  dance  occurs.  The  original  is  a  derivative  of 
(raqadh),  signifying  to  skip,  to  play,  to  dance.    In  Eccl. 

xii.  4,  the  word  music  occurs.  It  is  literally,  daughters  of 
the  song.  The  usual  term  for  song  is  employed.  The  expres- 
sion is  a  general  one,  indicating  all  the  sources  of  pleasure,  and 
among  them,  music  as  one  of  the  most  important. 


SONG  OF  SOLOMON". 


409 


THE  SONG  OF  SOLOMOK 

INTRODUCTORY  REMARKS. 

The  Hebrew  title  of  the  book  is  Q^i^'^lDn  "^^'W  (^^^'^ 
hashmm),  signifying  literalfy  song  of  the  songs,  indicating 
that  the  poem  is  an  elevated  one.  It  seems  to  be  an 
allegorj^,  representing  the  church  of  God  and  her  glorious 
Head  under  the  similitude  of  two  lovers.  It  is  ascribed 
to  Solomon,  and  contains  obvious  internal  marks  that  he 
was  the  author  (vid.  Song  of  Solomon  i.  5,  9  ;  iii.  9,  10 ; 
vi.  12).  It  must  have  been  composed  by  a  conteraporarj, 
and,  it  is  in  the  highest  degree  probable,  by  that  monarch 
himself,  for  there  are  references  in  the  book  to  nearly  all 
of  the  leading  circumstances  in  his  life.  About  two  cen- 
turies before  Christ  a  Greek  translation  of  it  was  made  by 
the  Jewish  authors  of  the  Septuagint,  and  is  now  found 
in  the  Alexandrian  version.  Aquila,  Symmachus,  and 
Theodotion  also  translated  it  into  Greek,  in  the  second 
century  of  the  Christian  era.  Origen  inserted  it  in  his 
Hexapla  in  the  third  century.  The  allegorical  significa- 
tion attached  to  it  by  the  Chaldee  paraphrasts,  shows  that 
the  ancient  Jews  considered  it  as  inspired.  Joseph  us,  Eu- 
sebius,  Melito,  of  the  second  century,  Ignatius,  Athana- 
sius,  and  others  mention  it  as  one  of  the  books  of  the 
Jewish  scriptures.  From  these  and  other  proofs,  it  is  gen- 
erally received  as  canonical. 

All  commentators  agree  that  the  song  of  songs  is  a 
poem,  but  they  differ  in  respect  to  the  class  of  poetry  to 
which  it  belongs. 

Harmer  regards  it  as  a  nujptial  song  ;  Bossuet,  Calmet, 
18 


410 


SONO  OF  SOLOMON. 


Percy,  and  others  as  a  regular  drama.  As  the  Jews  were 
accustomed  to  celebrate  their  nuptials  seven  days  in  suc- 
cession, some  critics  divide  the  book  into  seven  parts  cor- 
responding to  each  day.  Bishop  Lowth  considers  it  as  a 
sacred  jpastoral  drama^  though  he  does  not  agree  with  Bos- 
suet  in  considering  it  a  regular  one.  Bauer,  Jahn,  and 
others  regard  it  as  an  idyl,  or  perhaps  more  correctly,  sev- 
eral idyls.  Dr.  Grood  maintains  that  it  consists  of  a  series 
of  poems,  which  he  calls  sacred  idyls.  Accordingly,  he 
divides  the  book  as  follows : 


Idyl  1 

•     CHAP.  i.  1-8. 

2 

i.  9-ii.  7. 

3  - 

ii.  8-17. 

4 

iii.  1-5. 

5  - 

iii.  6-iv.  7. 

6 

iv.  8-v.  1. 

Y  - 

8 

9  - 

V.  2-vi.  10. 

vi.  11-13. 

vii.  1-9. 

10 

vii.  10-viii.  4. 

11  - 

viii.  5-7. 

12 

viii.  8-14. 

This  view  is  adopted  by  other  eminent  critics,  and  is 
probably  the  correct  one.  Dr.  Wright  presents  an  inter- 
esting analysis  of  the  book,  drawn  probably  from  Jahn, 
which  we  here  copy  (vid.  Kitto's  Cyclop.  Bib.  Lit.  Art. 
Canticles). 

1.  An  innocent  country  maiden  makes  an  undisguised 
profession  of  her  attachment,  and  her  lover,  a  shepherd, 
replies  to  it  with  eq«al  protestations  of  affection  (i.  2,  ii. 
7).  Some  prefer  concluding  this  dialogue  at  i.  11,  and 
making  i.  12-ii.  7,  a  soliloquy,  in  which  the  maiden  is 
supposed  to  repeat  some  compliments  of  her  lover.  But 
this  is  without  sufficient  reason. — 2.  A  maiden  sings  of 


PLAN  OF  THE  POEM. 


411 


her  lover,  wlio  is  seeking  her  everywhere,  and  she  also 
confesses  her  warm  affection  (ii.  8-iii.  5).  Some  suppose 
that  ii.  8-14  is  a  dream,  and  that  in  verse  15  the  maiden 
awakes,  who  dreams  again  in  iii.  1-5.  But  if  these  places 
are  similar  to  dreams,  it  ought  to  be  remembered  that 
waking  dreams  are  not  uncommon  with  lovers.  This  the 
poet,  true  to  nature,  has  here  presented. — 3.  A  maiden  in 
a  litter,  surrounded  by  Solomon's  soldiers,  is  brought  to 
the  harem  of  the  king.  The  lover  prefers,  far  before  all 
the  royal  beauties,  his  own  beloved,  in  whose  society  he 
declares  that  he  is  happier  than  the  king  himself  (iii.  6-v. 
1).  Some  choose  to  make  iv.  8-v.  1,  a  distinct  poem  :  but 
they  can  hardly  offer  any  sufficient  reason  for  separating 
this  portion  from  the  other.  Nevertheless  the  distribution 
of  the  work  into  its  several  parts  must  be  left  very  much 
to  the  readers  own  taste  and  feeling. — 4.  A  maiden  be- 
loved sings  of  her  lover.  He  had  come  to  her  door  at 
night,  and  had  fled  away  before  she  opened  it.  She  seeks 
him ;  is  beaten  by  the  watch,  and  stripped  of  her  veil. 
She  describes  the  beauty  of  her  lover,  who  at  length  an- 
swers, celebrating  her  loveliness,  with  a  contemptuous 
glance  at  the  multitude  of  the  king's  wives  (v.  2-vi.  19). 
— 5.  Shulamith  recounts,  in  few  words,  the  allurements 
of  the  courtiers,  whom  she  has  met  with  unexpectedly  in 
the  garden,  and  her  rejection  of  them,  and  celebrates  her 
affection  for  her  lover  (vi.  10-viii.  3). — 6.  Protestation  and 
praises  of  constant  affection  (viii.  4-7). — 7.  A  discourse  be- 
tween two  brothers,  about  guarding  and  giving  away  their 
sister  in  marriage  ;  who  replies  with  scorn,  that  she  would 
be  her  own  guardian  (viii.  8-12). — 8.  A  fragment.  A 
lover  wishes  to  hear  his  beloved.  She  replies  by  persuad- 
ing him  to  fly.  Perhaps  her  parents  or  relations  were 
near,  who,  in  the  East,  never  permit  such  meetings  (viii. 
13, 14). 


412 


SONG  OF  SOLOMON. 


Ewald  supposes  that  the  book  was  composed  about  920 
B.  C.  Pareaa,  De  Wette,  and  scholars  generally  agree 
that  it  must  have  been  written  in  the  age  of  Solomon. 

There  is  one  allusion  to  music  in  chapter  ii.  verse  12,  singing. 
A  derivative  of  zamar  is  used  in  the  Hebrew,  meaning  to 
prune,  and  in  the  Peal  conjugation,  (o  cut  off  discourse  at  reg^ 
ular  intervals^  to  sing  (vid.  Rem.  on  Ex.  xv.  2). 


PROPHETICAL  WRITINGS. 


413 


THE  BOOK  OF  ISAIAH. 

INTRODUCTORY  REMARKS. 

Tb.^ prophetical  writings  are  mostly  in  poetry,  and  con- 
tain some  of  the  highest  flights  of  the  Hebrew  bards. 
This  species  of  poetry  is  different,  in  some  respects,  from 
all  other  kinds  found  in  the  sacred  volaine.  The  sen- 
tentious parallelism  is  remarkably  prevalent,  and  the  orna- 
ments are  more  numerous  and  far  more  elegant.  The 
imagery  is  taken  from  natural  objects  as  well  as  from 
sacred  history ;  its  metaphors,  comparisons,  and  allegories, 
are  abundant  and  exceedingly  rich.  The  seers,  inspired 
from  on  high,  manifest  the  most  exalted  enthusiasm. 
They  seem  to  be  entirely  absorbed  in  the  subject  be- 
fore them :  their  diction  is  sententious  and  energetic — 
even  electric  in  its  effect — and  often  rises  to  the  highest 
degree  of  the  morally  sublime  (vid.  Bishop  Lowth's  Lect. 
on  Heb.  Poet.,  Lectures  xviii,  xix,  xx).  The  Bishop 
presents  Balaam's  prophecy  in  Num.  xxiv.  5-9.  as  one  of 
the  most  elegant  specimens  of  this  kind  of  poetrj^  extant, 
as  it  is  distinguished  for  charming  imagery,  the- figures 
being  diversified,  and  the  language  glowing  and  elegant. 
We  have  already  presented  Dr.  Hale's  translation  of  it 
(vid.  p.  2-13  supra).  Some  of  the  prophetical  poetry  is 
plaintive.  The  Lamentations  of  Jeremiah,  for  instance, 
furnish  probably  the  most  perfect  and  beautiful  specimen 
of  elegiac  Hebrew  poetry  ever  written.  (For  farther  gen- 
eral Rem.  on  Hebrew  poetry,  see  Rem.  on  I  Chron.  xxv. 
1,  supra). 

Isaiah  is  justly  distinguished  for  the  energy,  beauty,  and 


414 


STYLE  OF  ISAIAH. 


grandeur  of  his  conceptions  and  style.  For  this  reason, 
among  other  considerations,  the  book  of  Isaiah,  though 
the  fifth  in  the  order  of  time,  is  placed  first  among  the 
prophetical  writings.  It  appears  from  his  own  account, 
that  this  prophet  was  the  son  of  Amos,  and  flourished 
from  810-698  B.  C,  during  the  reigns  of  Uzziah,  Jotham, 
Ahaz,  and  Hezekiah.  Some  suppose  that  he  was  brother 
of  Uzziah,  king  of  Judah,  but  this  is  not  certain.  The 
prophets  Amos,  Hosea,  Joel,  and  Micah,  were  his  contem- 
poraries. 

Isaiah  was  a  bold,  original,  and  splendid  writer.  His 
language,  in  some  instances,  is  in  the  highest  degree  exalted 
and  sublime.  He  rises  upon  the  mount  of  vision,  his  con- 
ceptions are  intensely  vivid,  and  his  style  full  of  energy 
and  pathos.  The  terrific  and  joyous  scenes  which  were 
to  transpire  in  future  ages,  seem  to  have  been  really  before 
him.  He  is  in  the  midst  of  commotions,  wars,  and  triumphs. 
He  hears  the  cannon's  roar,  beholds  the  thousands  slain, 
listens  to  the  groans  of  the  dying,  and  then  to  the  songs 
of  victory.  He  is  the  matchless  Hebrew  bard,  and  is 
justly  styled,  by  Lowth,  "the  prince  of  all  the  proph- 
ets." 

Doederlein,  Hoppe,  Bauer,  Eichhorn,  Justi,  Kosenmiil- 
ler,  and  others  have  undertaken  to  show  that  Isaiah  did 
not  compose  the  whole  book  ascribed  to  him,  but  Jahn 
and  others  have  triumphantly  refuted  their  arguments. 

The  object  of  the  prophet  in  writing  this  book,  was  to 
show  the  Israelites  as  well  as  the  Gentile  nations,  the  tur- 
pitude of  their  iniquities,  and  to  call  down  upon  them,  un- 
less they  should  repent,  the  judgments  of  an  offended  Grod. 
The  writer  warns  them  to  repent,  and  avert  impending 
wrath.  He  also  comforts  the  godly  in  view  of  their 
severe  afflictions.  There  are  in  the  book  numerous  and 
■unmistakable  prophecies  concerning  the  advent  of  the 


ISAIAH  III.  lG-18;  V.  1,  12. 


415 


Messiah,  some  of  wbicli  are  exceedingly  beautiful  and 
sublime.    There  are  a  few  allusions  to  music  in  the  book. 

Isaiah  iii.  16-18. 

16  Moreover  the  Lord  saith, 

Because  the  daughters  of  Zion  are  haughty, 
And  walk  with  stretched-forth  necks  and  wanton  eyes, 
Walking  and  mincing  as  they  go,  and  making  a  tink- 
ling with  their  feet : 

17  Therefore  the  Lord  will  smite  with  a  scab 

The  crown  of  the  head  of  the  daughters  of  Zion, 
And  the  Lord  will  discover  their  secret  parts. 

18  In  that  day  the  Lord  will  take  away  the  bravery  of 

their  tinkling  ornaments  ctboict  their  feet  ^ 

And  their  cauls,  and  their  round  tires  like  the 
moon. 

Tinkling  (vs.  16,  18). — This  does  not  refer  to  music  ;  but  to 
a  clinking  sound  caused  by  chains  attached  to  the  ankles  of 
ladies,  who  thus  attracted  the  attention  of  the  populace.  The 
austere  prophet  condemns  this  custom  as  indicative  of  pride. 

Isaiah  v.  1,  12. 

1  Now  will  I  sing  to  my  well-beloved 

A  song  of  my  beloved  touching  his  vineyard. 
My  well-beloved  hath  a  vineyard  in  a  verv  fruitful 
hill : 

12  And  the  harp,  and  the  viol,  the  tabret, 
And  pipe,  and  wine,  are  in  their  feasts  : 
But  they  regard  not  the  work  of  the  Lord, 
Neither  consider  the  operation  of  his  hands. 

Sing — song  (v.  1). — The  usual  term  is  employed  here  for 
sing  (vid.  Rem.  on  Ex.  xv.  1). 


416  MUSIC  OF  ISAIAH. 

Harp — viol — tahret — j)ipe  (v.  12). — Kinnor  is  the  original 
for  harp  (vid.  Rem.  on  Gen.  iv.  21),  and  nebhel  for  viol.  The 
nebhel^  we  have  already  shown,  resennbled  our  guitar  more 
nearly  than  any  other  instrument.  Viol  is  a  general  term,,  in- 
cluding the  guitar  and  other  instruments  of  that  class  (vid. 
Rem.  on  I  Sam.  x.  5  ;  II  Sam.  vi.  5).  Toph  is  the  original  for 
tahret  (vid.  Rem.  on  Gen.  xxxi.  27 ;  Ex.  xv.  20),  and  halil  for 
pipe.  The  latter  was  evidently  a  wind  instrument,  probably 
resembling  a  flute,  and  should  not  be  confounded  with  the 
iigahh  or  organ,  which  was  a  much  more  ancient  instrument 
(vid.  Rem.  on  I  Sam.  x.  5 ;  I  Kings  i.  40). 

Isaiah  xii.  2,  5,  6. 

2  Behold,  God  is  my  salvation  ; 

I  will  trust,  and  not  be  afraid : 
For  the  Lord  Jehovah  is  my  strength  and  my  song ; 
He  also  is  become  my  salvation. 

5  Sing  unto  the  Lord  ; 

For  he  hath  done  excellent  things  : 
This  is  known  in  all  the  earth. 

6  Cry  aut  and  shout,  thou  inhabitant  of  Zion  : 

For  great  is  the  Holy  One  of  Israel  in  the  midst  of 
thee. 

Song  (v.  2). — In  the  original,  a  derivative  of  zamar  is  used, 
also  in  verse  5,  the  term  translated  sing  is  similarly  derived 
(vid.  Rem.  on  Ex.  xv.  20).  In  verse  6,  cry  out  and  shout  is 
simply  an  expression  of  joy.  In  Isa.  xiii.  21,  the  word 
dances  is  found.  The  original  of  it  is  a  derivative  of  raqadh 
(vid.  Rem.  on  Eccl.  iii.  4). 

The  language  here  employed  is  highly  figurative  and  terrific. 
The  writer  is  speaking  of  the  destruction  of  Babylon,  and  his 
predictions  have  been  literally  and  dreadfully  fulfilled. 


ISAIAn  XIV.  4-19. 


417 


IsATAii  xiv.  4-19. 

"VVe  present  Noyes'  translation. 

4  Then  shalt  thou  utter  this  song  over  the  king  of 

Babylon,  and  say, 
How  hath  the  tyrant  fallen  ! 
The  tribute  ceased  ! 

5  Jehovah  hath  broken  the  staff  of  the  wicked, 
The  rod  of  the  tyrants, 

6  That  smote  the  people  in  anger 
With  a  continual  stroke, 

That  lorded  it  over  the  nations  in  wrath 
With  unremitted  oppression. 

7  The  whole  earth  is  at  rest,  is  quiet ; 
They  break  forth  into  singing. 

8  Even  the  cypress  trees  exult  over  thee, 
And  the  cedars  of  Lebanon  ; 

'  Since  thou  art  fallen, 

No  feller  cometh  up  against  us.' 

9  Hades  beneath  is  in  commotion  on  account  of  thee. 
To  meet  thee  at  thy  coming  ; 

He  stirreth  up  before  thee  the  shades,  all  the  mighty 
of  the  earth  ; 

He  arouseth  from  their  thrones  all  the  kings  of  the 
nations ; 

10  They  all  accost  thee,  and  say, 

'  Art  thou,  too,  become  weak  as  we  ? 
Art  thou  become  like  us  ?  ' 

11  Thy  pomp  is  brought  down  to  the  grave, 
And  the  sound  of  thy  harps. 

Yermin  have  become  thy  couch. 
And  earth-worms  thy  covering. 

12  How  art  thou  fallen  from  heaven  I 
Howl,  son  of  the  morning  I 


418 


BEAUTIES  OF  ISxVIAH. 


How  art  tlion  cast  down  to  the  ground, 
Thou  that  didst  trample  upon  the  nations  ! 

13  Thou  saidst  in  thy  heart,  '  I  will  ascend  to  heaven  ! 
Above  the  stars  of  Grod  will  I  exalt  my  throne ; 

I  will  sit  upon  the  mount  of  assembly  in  the  farthest 
north. 

14  I  will  ascend  above  the  height  of  the  clouds ; 
I  will  be  like  the  Most  High.' 

15  But  thou  art  brought  down  to  the  grave, 
To  the  depths  of  the  pit ; 

16  They  that  see  thee  gaze  upon  thee,  and  view  thee  at- 

tentively, (and  say,) 
'  Is  this  the  man  that  made  the  earth  tremble  ? 
That  did  shake  kingdoms  ? 

17  That  made  the  world  a  wilderness, 
And  laid  waste  its  cities. 

And  dismissed  not  his  captives  to  their  homes? ' 

18  All  the  kings  of  the  nations,  yea,  all  of  them, 
Lie  down  in  glory,  each  in  his  own  sepulchre ; 

19  But  thou  art  cast  forth  without  a  grave. 
Like  a  worthless  branch  ; 

Covered  with  the  slain,  who  are  pierced  by  the  sword, 
Who  go  down  to  the  stones  of  the  pit, 
Like  a  carcass,  trampled  under  foot." 

This  chapter  is  considered  as  one  of  the  most  beautiful  and 
sublime  specimens  of  Hebrew  poetry  found  in  the  sacred  vol- 
ume, or  in  any  other  hook.  Bishop  Lowth  uses  the  following 
language  in  respect  to  it : 

"  How  forcible  is  this  imagery,  how  diversified,  how  sub- 
lime !  how  elevated  the  diction,  the  figures,  the  sentiments  ! — 
The  Jewish  nation,  the  cedars  of  Lebanon,  the  ghosts  of  de- 
parted kings,  the  Babylonish  monarch,  the  travelers  who  find 
his  corpse,  and  last  of  all  Jehovah  himself,  are  the  characters 
which  support  this  beautiful  lyric  drama.    One  continued  ac- 


ISAIAH  XIV.  4-19. 


419 


tion  is  kept  up,  or  rather  a  series  of  interesting  actions  are  con- 
nected together  in  an  incomparable  whole  ;  this,  indeed,  is  the 
principal  and  distinguished  excellence  of  the  sublimer  ode,  and 
is  displayed  in  its  utmost  perfection  in  this  poem  of  Isaiah, 
■svhich  may  be  considered  as  one  of  the  most  ancient,  and  cer- 
tainly one  of  the  most  finished,  specimens  of  that  species  of 
composition  which  has  been  transmitted  to  us.  The  personifi- 
cations here  are  frequent,  yet  not  confused ;  bold,  yet  not  im- 
probable :  a  free,  elevated,  and  truly  divine  spirit  pervades  the 
whole ;  nor  is  there  any  thing  wanting  in  this  ode  to  defeat  its 
claim  to  the  character  of  perfect  beauty  and  sublimity.  If,  in- 
deed, I  may  be  indulged  in  the  free  declaration  of  my  own  sen- 
timents on  this  occasion,  I  do  not  know  a  single  instance,  in  the 
whole  compass  of  Greek  and  Roman  poetry,  which,  in  every 
excellence  of  composition,  can  be  said  to  equal,  or  even  to  ap- 
proach it." 

Singing  (v.  7). — The  original  is  a  derivative  of  ranan,  sig- 
nifying to  utter  a  tremulous  sound,  to  shout,  referring  to  exulta- 
tion, triumph.  In  verse  11,  the  term  viols  occurs.  The  origi- 
nal is  the  plural  of  nejjhel,  indicating  an  instrument  resembling 
the  guitar,  and  often  translated  psaltery  in  our  English  version 
of  the  scriptures.  The  term  here  seems  to  be  a  general  one,  re- 
ferring to  the  viol  class  of  stringed  instruments  (vid.  Rem.  on 
I  Sam.  x.  5  ;  II  Sam.  vi.  5). 

In  chapter  xvi.  verse  9,  shouting  is  used,  referring  to  the  cus- 
tom of  rejoicing  in  view  of  gathering  in  the  harvest.  The 
same  word  occurs  in  verse  10,  referring  to  joy  in  the  time  of 
vintage.  Singing  also  occurs  in  the  same  verse.  A  derivative 
of  ranan  is  used  (vid.  Rem.  on  Isa.  xiv.  T).  In  verse  11, 
kinnor,  translated  harp,  is  employed  in  a  peculiarly  figurative 
and  striking  manner. 

In  chapter  xviii,  verse  3,  trumpet  is  employed.  This  is  the 
shophar  or  crooked  trumpet  (vid.  Rem.  on  Ex.  xix.  16  ;  Lev. 
XXV.  9),  used  principally  in  war.  The  prophet  here  declares 
the  fact,  that  a  powerful  army  would  come  from  beyond  the 
Euphrates,  and  spread  desolation  in  every  direction.  This 


420 


MUSIC  OF  ISAIAH. 


prophecy  is  exceedingly  obscure,  and  it  is  impossible  to  ascer- 
tain beyond  a  doubt  from  what  country  the  warriors  were  to 
emerge.  Vitringa  and  others  suppose  that  they  were  Assyri- 
ans, while  Bishop  Lowth  thinks  that  they  were  Egyptians. 
Rosenmiiller  and  others  maintain  that  they  were  ^Ethiopians. 

In  Isaiah  xxiii.  15,  sing  occurs.  The  original  is  a  derivative 
of  the  usual  form  shir.  In  verse  16,  kinnoi\  translated  Aa?^?,  is 
found.  Sing  occurs  in  the  same  verse.  The  original  word  is 
naggen,  meaning  to  play  on  stringed  instruments.  Refer- 
ence is  probably  made  to  instruments  of  the  viol  kind  (vid. 
Rem.  on  Gen.  iv.  21  ;  Job  xxx.  9).  In  chapter  xxiv.  8,  a  de- 
rivative of  toph,  translated  tabrets,  is  used.  Also  the  kinnor, 
harp.  In  verse  14,  sing  occurs — from  a  derivative  of  ranan 
(vid.  Rem.  on  Lev.  iv.  24).  In  verse  16,  the  word  songs  is 
found — a  derivative  of  zamar  (vid.  Rem.  on  Ex.  xv.  2). 

Chapter  xxvi.  1,  song — sung. — The  usual  term  is  employed 
here ;  but  in  verse  19,  a  derivative  of  ranan.  The  prophetic 
denunciations  and  encouragements  contained  in  Isaiah  xxiv, 
XX  v^,  and  xxvi,  are  supposed  to  have  been  delivered  in  the  be- 
ginning of  Hezekiah's  reign.  In  chapter  xxiv,  a  terrible  de- 
struction by  the  invasion  of  some  powerful  chieftain  is  an- 
nounced. Commentators  are  not  agreed  whether  it  was  Shal- 
irianeser,  Nebuchadnezzar,  or  the  leader  of  the  Romans,  who 
was  to  make  the  attack.  Lowth  supposes  that  there  may  be 
reference  to  all  three.  Finally,  the  prophet,  in  chapters  xxv, 
and  xxvi,  breaks  forth  into  beautiful  and  sublime  songs  of  ador- 
ation. In  chapter  xxvii.  2,  sing  occurs.  The  original  is  a  de- 
rivative of  anah^  meaning  to  sing,  to  shout,  the  cry  of  victory 
(vid.  Rem.  on  Ex.  xxxii.  18). 

Great  trumpet  (v.  13). — This  is  the  shophar  or  crooked  trum- 
pet. Here  is  a  beautiful  reference  to  that  custom  of  the  Jews, 
by  which  they  blew  the  trumpet  or  shophar  to  call  the  people 
together  for  their  holy  solemnities,  for  war,  or  to  suppress  a 
rebellion.  The  Israelites,  though  scattered  and  oppressed,  shall 
return  to  the  holy  city  at  the  blast  of  the  g7'eat  trumpet,  and 
three  worship  the  God  of  their  fathers. 


ISAIAH  XXXV.  1-10. 


421 


Song  (Isa.  xxx.  29). — The  usual  Hebrew  term  is  here  em- 
ployed (vid.  Rem.  on  Ex.  xv.  1). 

Pipe  (v.  29). — This  is  the  halil  or  flute  kind  of  wind  instru- 
ments, different  from  the  ugabh  or  organ  (vid.  Rem.  on  I  Sam. 
X.  5  ;  I  Kings  i.  40). 

Tabrets  and  harps  (v.  32). — These  were  tophs  and  hinnors 
(vid.  Rem.  on  Gen.  iv.  21  ;  xxxi.  27). 

Isaiah  xxxv.  1-10. 

1  The  wilderness  and  the  solitary  place  shall  be  glad 

for  them ; 

And  the  desert  shall  rejoice,  and  blossom  as  the  rose. 

2  It  shall  blossom  abundantly,  and  rejoice  even  with  joy 

and  singing: 

The  glory  of  Lebanon  shall  be  given  unto  it,  the  ex- 
cellency of  Carmel  and  Sharon. 
They  shall  see  the  glory  of  the  Lord,  and  the  excel- 
lency of  our  God. 
8     Strengthen  ye  the  weak  hands,  and  confirm  the  fee- 
ble knees. 

4     Say  to  them  that  are  of  a  fearful  heart,  Be  strong, 
fear  not ; 

Behold,  your  God  will  come  with  vengeance, 

Even  God  with  a  recompense  ; 

He  will  come  and  save  you. 
6        Then  the  eyes  of  the  blind  shall  be  opened, 
And  the  ears  of  the  deaf  shall  be  unstopped. 

6  Then  shall  the  lame  man  leap  as  an  hart. 
And  the  tongue  of  the  dumb  sing  : 

For  in  the  wilderness  shall  waters  break  out. 
And  streams  in  the  desert. 

7  And  the  parched  ground  shall  become  a  pool. 
And  the  thirsty  land  springs  of  water : 

In  the  habitations  of  dragons,  where  each  lay. 


422 


MUSIC  OF  ISAIAH. 


Shall  1)6  grass  with  reeds  and  rushes. 

8  And  an  highway  shall  be  there,  and  a  way, 
And  it  shall  be  called  the  way  of  holiness ; 

The  unclean  shall  not  pass  over  it ;  but  it  shall  he 
for  those : 

The  wayfaring  men,  though  fools,  shall  not  err 
therein. 

9  *       No  lion  shall  be  there ; 

Nor  any  ravenous  beast  shall  go  up  thereon, 

It  shall  not  be  found  there  ; 
But  the  redeemed  shall  walk  there  : 
10         And  the  ransomed  of  the  Lord  shall  return, 

And  come  to  Zion  with  songs,  and  everlasting  joy 
upon  their  heads. 

Singing  (v.  2),  sing  (v.  6),  songs  (v.  10). — hi  these  three 
cases  derivatives  of  ranan  are  employed  (vid.  Rem.  on  Lev.  ix. 
24).  Chapter  xxxv  is  an  elegant  poem,  and  refers  in  the  plain- 
est terms  to  the  incarnation  and  sufferings  of  the  Messiah.  The 
previous  chapter  is  intimately  connected  with  this,  the  two  con- 
taining an  entire  prophecy. 

We  ivill  sing  my  songs  to  the  stringed  instruments  (Isa.  xxxviii. 
20). — This  expression  indicates  rejoicing  in  consequence  of  the 
recovery  of  King  Hezekiah  from  a  dangerous  illness,  ^^r^^j 

(n^naggen),  translated  sing  my  songs,  also  ^irjlD'^ti']  (n^gino- 

thay),  translated  stringed  instriuyients,  are  both  derived  from 
nagan,  to  strike  a  chord  or  string  (vid.  Rem.  on  Job  xxx.  9; 
Ps.  iv.  title).  The  LXX  designate  the  particular  stringed  in- 
strument used,  calling  it  the  psaltery,  but  there  is  nothing  in 
the  original  to  show  that  the  inspired  writer  intended  to  indi- 
cate any  particular  stringed  instrument.  The  expression  is  ob- 
viously a  general  one,  indicating  praise  and  rejoicing  with  instru- 
mental, as  well  as  vocal,  music.  Chap.  xlii.  10,  11,  sing — song 
' — shout.    The  prophet  here  speaks  of  the  infinite  goodness  of 


ISAIAH  XXXV.  1-10. 


423 


God  in  providing  a  Saviour,  and  calls  upon  all  men  to  rejoice  and 
praise  the  Lord  in  view  of  the  wonderful  fact.  In  verse  10? 
derivatives  of  shir  are  used  for  sing  and  song^  and  in  verse  11, 
for  sing^  a  derivative  of  ranan  (vid.  Rem,  on  Ex.  xv.  1  ;  Lev. 
ix.  24).  Chap.  xliv.  23.  Here  the  prophet  calls  upon  the  heav- 
ens and  earth  to  praise  Jehovah,  because  he  had  redeemed  his 
people.  A  derivative  of  ranan  is  used  in  both  cases  in  which 
reference  is  made  to  music.  In  chap,  xlviii.  20,  a  derivative  of 
the  same  word  is  employed  and  translated  singing.  The  same 
is  true  of  the  references  to  music  in  chap.  xlix.  13. 

Chap.  li.  3,  melody. — The  original  of  this  is  a  derivative  of 
zamar  (vid.  Rem.  on  Ex.  xv.  2).  It  is  usually  translated  song. 
In  V.  11,  a  derivative  of  ranan  is  employed  for  singing.  Chap, 
lii.  8,  9,  sing,  a  derivative  of  ranan,  is  used  in  both  cases.  The 
same  is  true  of  the  references  to  music  in  chap.  liv.  1.  The 
same  is  true  also  in  chap.  Iv.  12.  In  chap.  Iviii.  1,  trumpets 
This  was  the  shophar,  or  crooked  trumpet  (vid.  Rem.  on  Ex. 
xix.  16  ;  I^ev.  xxv.  9).  In  chap.  Ixv.  14,  a  derivative  of  ranan 
is  employed. 


424 


JEREMIAH — IXTRODUCTORY  REMARKS. 


BOOK  OF  THE  PROPHET  JEREMIAH. 

INTRODUCTORY  REMARKS. 

The  object  of  the  writer  in  this  book  is  to  exhibit  the 
great  wickedness  and  apostasy  of  the  people  of  Judah,  to 
show  that  thej  would  be  punished  by  judgments  from  heav- 
en, and,  upon  repentance,  be  finally  restored  to  the  divine 
favor.  Jeremiah  was  sensitive,  naturally  timid,  and  retir- 
ing; still,  in  the  discharge  of  his  duty  he  did  not  shrink 
from  publicity,  danger,  or  even  death  itself.  He  was 
remarkably  susceptible  to  sorrowful  emotions,  and  utters 
many  plaintive  and  thrilling  lays.  His  style  is  highly  pa- 
thetic and  beautiful.  He  speaks  the  truth  with  boldness 
and  fidelity,  but  with  the  utmost  tenderness.  He  beholds 
in  prophetic  vision  the  judgments  of  heaven  descending 
upon  his  people.  He  deeply  sympathizes  with  them,  and 
exhorts  them  to  avert  impending  destruction  by  turning 
to  the  Lord.  Bishop  Lowth  considers  Jeremiah  as  nearly 
equalling  Isaiah  in  sublimity  of  thought  and  diction. 

The  canonicity  of  this  book  is  well-established,  though 
some  German  critics  have  raised  objections  against  de- 
tached passages.  There  seems  to  be  a  disarrangement  in 
the  chronological  order  of  the  different  prophecies  of  Jer- 
emiah, and  various  conjectures  have  been  suggested  to  ac- 
count for  it,  but  we  have  not  a  sufficient  number  of  facts 
at  present  to  enable  us  to  decide  with  certainty  the  cause. 
Dr.  Blane}^  has  arranged  the  prophecies  in  the  following 
manner  : 

1.  The  prophecies  delivered  in  the  reign  of  Josiah^  con- 
taining chapters  i-xii,  inclusive. 


JEREMIAH  IV.  19-26. 


425 


2.  The  jpropliecies  delivered  in  the  reign  of  JehoiaTcim^ 
comprising  chapters  xiii-xx,  xxii,  xxiii,  xxxv,  xxxvi, 
xlv-xlviii,  and  xlix,  1-33. 

3.  The  jyrophecies  delivered  in  the  reign  of  Zedekia\ 
including  chapters  xxi,  xxiv,  xxvii-xxxiv,  xxxvii- 
xxxix,  xlix,  34-39,  and  1,  and  li. 

4.  The  prophecies  delivered  under  the  government  of 
Gedaliah^  from  the  taking  of  Jerusalem  to  the  retreat  of 
the  people  into  Egypt,  and  the  prophecies  of  Jeremiah  de- 
livered to  the  Jews  in  that  country  ;  comprehending  chap- 
ters xl-xliv,  inclusive. 

This  book  is  believed  to  have  been  written  at  different 
times  between  628  and  583  B.  C,  and  is  consequently 
very  ancient.  There  are  occasional  allusions  to  music. 
Indeed,  nearly  the  w-hole  book  consists  of  beautiful  poems, 
which  were  probably  set  to  music.  As  a  specimen  of  the 
plaintive,  pathetic,  sublime  lays  of  this  poet,  we  present  a 
part  of  the  fourth  chapter  (verses  19-26).  It  is  the  fol- 
lowing, as  translated  by  Herder  : 

19  My  bowels,  my  bowels !  I'm  filled  with  pain, 
My  very  heart  is  full  of  anguish, 

And  yet  I  cannot  hold  my  peace. 

My  soul  hath  heard  the  sound  of  trumpets, 

The  shout  and  alarm  of  war. 

20  Destruction,  desolation,  is  cried. 
For  all  the  land  is  desolate, 
M}^  tents  are  suddenly  spoiled. 

21  How  long  shall  I  yet  see  the  standard, 
And  hear  the  soun-d  of  trumpets  ? 

22  My  foolish  nation  understand  me  not, 
Unwise  children  and  void  of  sense, 
Wise  to  do  evil,  but  never  to  do  good. 

23  I  look  abroad  upon  the  earth, 


42d 


INVASION  OF  JUDJEA. 


And  lo !  it  is  desolate  and  waste, 

Upon  the  heavens,  and  thej  have  no  light, 

24  I  see  the  mountains,  and  they  tremble, 
And  all  the  hills  are  in  commotion. 

25  I  behold,  and  lo !  there  is  no  man, 
And  all  the  birds  of  heaven  are  fled. 

26  I  look,  and  lo !  Carmel  is  a  desert, 
And  all  its  cities  are  laid  waste 
Before  the  presence  of  Jehovah, 
Before  the  blast  of  his  fierce  anger. 

In  this  passage  we  have  references  to  music  in  verses  5,  19  and 
21.  The  shoplwr^  crooked  trumpet^  is  used  (vid.  Rem.  on  Ex. 
xix.  16;  Lev.  xxv.  9).  The  prophet  elegantly  describes,  in 
prophetic  vision,  the  invasion  of  Judaea  by  the  Babylonians, 
Chaldseans,  Assyrians,  and  Medes,  the  awful  ravages  of  the 
country  by  the  enemy,  and  their  victory  over  the  disobedient, 
though  favored  people  of  the  Lord.  The  writer's  lamentation 
over  the  sorrows  of  his  people  is  truly  elegant.  The  Hebrews 
are  commanded  to  blow  the  trumpet — to  call  the  warriors  to  the 
combat.  In  chapter  vi.  1,  17,  a  similar  expression  is  employed. 
Judah  and  Jerusalem  are  called  upon  to  sound  the  sliophar  in 
view  of  an  attack  by  the  Babylonians  and  Chaldseans.  Chapter 
XX.  13,  sing.  Pashur,  the  chief  governor  of  the  house  of  the 
Lord,  persecuted  Jeremiah,  smote  him,  and  put  his  feet  in  the 
stocks.  The  prophet  made  his  complaint,  and  exulted  in  God 
as  the  deliverer  of  his  people  from  the  hands  of  evil-doers. 
A  derivative  of  shir  is  used,  and  translated  sing  (vid.  Rem.  on 
Ex.  XV.  1).  Inverse  16  s^ow/m^  occurs.  The  original  is  teruah^ 
indicating  triumph  (vid.  Rem.  on  Num.  x.  5  ;  xxix.  1).  Chapter 
xxxi.  4,  tabrets.  The  original  is  a  derivative  of  toph^  a  pulsa- 
tile instrument  (vid.  Rem.  on  Gen.  xxxi.  27 ;  Ex.  xv.  20 ;  I 
Sam.  xviii.  6).  The  prophet  is  speaking  of  the  restoration  of 
Israel  to  the  favor  of  God.  In  the  same  verse  it  is  said  that 
they  shall  go  forth  in  dances  of  them  that  make  merry.  The 


JEREMIAH  XLII.  14. 


427 


whole  indicates  joy  and  triumph.  In  verse  7,  Israel  is  called 
upon  to  sinr/  and  shout.  In  one  case  the  original  is  a  derivative 
of  ranan,  and  in  the  other  simha  is  employed,  all  indicative  of 
great  joy  (vid.  Rem.  on  Gen.  xxxi.  27  ;  Lev.  ix.  24).  In  verse 
12,  a  derivative  of  ranan  is  employed,  indicating  extreme  joy 
"  on  the  heights  of  Zion."  In  verse  13,  it  is  said  that  Israel 
shall  unite  in  dances  as  well  as  singing. 

Trumpet  (Jer.  xlii.  14), — This  is  the  shophar  ov  croolced  trum- 
pet (vid.  Rem.  on  Ex.  xix.  16).  Reference  is  here  made  to  the 
war-blast.  The  Israelites  thought  they  should  not  hear  the  sound 
of  that  terrible  instrument  if  they  should  go  down  into  Egypt. 
In  chap,  xlviii.  33,  shouting  occurs  three  times.  The  original  is 
^T^tl   hedhadh,  from    the    verb,  ^^y^   hadhadh,    to  break 

forth  into  jog,  to  shout  for  jog.  The  reference  is  to  the  exulta- 
tion of  those  whose  wine-presses  are  full  of  wine  from  an  abun- 
dant harvest.  The  joy  usually  characteristic  of  such  occasions 
was  to  be  turned  into  mourning.  In  verse  30,  of  the  same 
chapter,  the  prophet  declares  that  his  heart  should  sound  like 
pipes  for  Moab  and  Kir-heres.  Pipes  were  used  particularly 
at  funerals  to  aid  in  mournful  demonstrations.  So  there  should 
be  similar  mourning  for  Moab  and  Kir-heres.  The  original  is 
a  derivative  of  35 H  {hhalal),  to  pierce,  to  bore  through,  to 

-  T 

play  071  the  pipe.  This  was  evidently  a  wind  instrument,  prob- 
ably a  flute,  and  as  it  appears  in  the  plural  form,  it  is  supposed 
to  refer  to  the  double  flute  (vid.  Rem.  on  I  Sam.  x.  5 ;  I  Kings, 
i.  40.)  In  chap.  li.  27,  the  shophar  or  crooked  trumpet  is  men- 
tioned. The  allusion  is  to  the  terrible  destruction  of  Babylon 
predicted  by  the  prophet.  In.  prophetic  vision  he  beholds  the 
great  and  wicked  city  attacked  by  surrounding  nations — he  hears 
the  blast  of  the  war-trumpet,  and  sees  Babylon  full.  Then  in 
verse  48,  he  represents  the  heavens  and  earth  as  rejoicing,  and 
singing  in  triumph  at  her  overthrow.  A  derivative  of  ranan 
is  employed  (vid.  Rem.  on  Lev.  ix.  24). 


428  LAMENTATIONS  OF  JEREMIAH. 


LAMENTATIONS  OF  JEREMIAH. 

INTRODUCTORY  REMARKS. 

In  this  part  of  tlie  prophet's  writings  we  find  his  sweet- 
est and  most  exalted  elegiac  lays.  He  is  a  mourner.  The 
kingdom  of  Judah  is  rent  by  a  foreign  foe,  the  beloved 
city  of  Jerusalem  is  destroyed,  and  Israel  overwhelmed  in 
sorrow.  The  prophet  is  borne  down  with  inconsolable 
grief.  He  appears  upon  the  ruins  of  that  city,  once  pros- 
perous, and  beholds  the  fearful  desolation  around  him, — the 
dear  homes  of  his  people  demolished,  the  streets  flowing 
with  blood,  his  own  relatives  slain  or  carried  to  Babylon 
into  hopeless  captivity;  and,  worse  than  all,  he  views  the 
sacred  temple,  where  God  had  vouchsafed  his  presence, 
leveled  to  the  ground  and  burned  with  fire — its  altars, 
sanctuary,  and  holy  of  holies  desecrated  and  laid  in  utter 
desolation.  Its  beauty  and  splendor  were  no  more — the 
plaintive  or  joj^ous  tones  of  its  vocal  and  instrumental  music 
reverberated  within  its  walls  no  longer  ;  its  solemn  assem- 
blies had  ceased  to  witness,  in  its  holy  portals,  the  divine 
manifestations ;  and  its  priesthood  had  fallen  by  the  sword 
or  been  carried  into  captivity.  Not  only  are  the  city  and 
temple  destroyed,  but  the  whole  land  is  laid  waste.  With 
this  overwhelming  view  before  him,  the  inspired  seer 
utters  his  plaintive  strains.  He  strikes  his  lyre,  and  from 
its  quivering  strings  proceed  those  tones  which  are  in 
unison  with  the  deep  emotions  of  his  soul.  He  is  in  tears, 
and  the  bitterest  pang  which  heaves  his  bosom  is  caused 
by  the  fact  that  Israel  is  guilty — that  she  has  inflicted  upon 
herself  this  dread  calamity. 


LAMENTATIONS  III.  31-G6. 


429 


This  part  of  the  book  consists  of  five  distinct  elegies,  all 
of  which  are  plaintive  funeral  dirges.  Each  elegy  contains 
twenty-two  periods,  corresponding  with  the  number  of 
letters  in  the  Hebrew  alphabet.  In  the  first  four  chapters 
the  several  periods  begin  with  the  different  letters  in  al- 
phabetical order,  thus  marking  the  metre  more  precisely. 
In  the  third  chapter  each  period  contains  three  verses,  all 
having  the  same  initial  letter.  There  seems  to  be  nothing 
artificial  or  methodical  in  the  arrangement  of  these  elegies ; 
yet  there  is  no  incoherency  or  abrupt  transition.  There  is 
a  great  variety  of  beautiful  and  pathetic  images,  all  clad  in 
the  habiliments  of  mourning.  There  are  some  allusions  to 
music, — indeed,  the  whole  piece  is  a  musical  composition. 
As  a  specimen,  we  present  the  following: 

Lamentations  iii.  31-66. 

81  For  the  Lord  will  not  cast  ofi"  for  ever : 

82  But  though  he  cause  grief,  yet  will  he  have  compassion 

according  to  the  multitude  of  his  mercies. 
38  For  he  doth  not  afflict  willingly  nor  grieve  the  children 
of  men. 

84  To  crush  under  his  feet  all  the  prisoners  of  the  earth, 

85  To  turn  aside  the  right  of  a  man  before  the  face  of  the 

Most  High, 

36  To  subvert  a  man  in  his  cause,  the  Lord  approveth  not. 

87  Who  is  he  that  saith,  and  it  cometh  to  pass,  when  the 

Lord  commandeth  it  not? 

88  Out  of  the  mouth  of  the  Most  High  proceedeth  not 

evil  and  good  ? 

89  Wherefore  doth  a  living  man  complain,  a  man  for  the 

punishment  of  his  sins? 
40  Let  us  search  and  try  our  ways,  and  turn  again  to  the 
Lord. 


430  ELEGY  OF  JEREMIAH. 

41  Let  US  lift  up  our  heart  with  our  hands  unto  God  in 

the  heavens. 

42  We  have  transgressed  and  rebelled :  thou  hast  not 

pardoned. 

43  Thou  hast  covered  with  anger,  and  persecuted  us :  thou 

hast  slain,  thou  hast  not  pitied. 

44  Thou  hast  covered  thyself  with  a  cloud,  that  our'  prayer 

should  not  pass  through. 

45  Thou  hast  made  us  as  the  offscouring  and  refuse  in  the 

midst  of  the  people. 

46  All  our  enemies  have  opened  their  mouths  against  us. 

47  Fear  and  a  snare  is  come  upon  us,  desolation  and 

destruction. 

48  Mine  eye  runneth  down  with  rivers  of  water  for  the 

destruction  of  the  daughter  of  my  people. 

49  Mine  eye  trickleth  down,  and  ceaseth  not,  without  any 

intermission, 

50  Till  the  Lord  look  down,  and  behold  from  heaven. 

51  Mine  eye  affecteth  mine  heart  because  of  all  the  daugh- 

ters of  my  city. 

52  Mine  enemies  chased  me  sore,  like  a  bird,  without 

cause. 

53  The}^  have  cut  off  my  life  in  the  dungeon,  and  cast  a 

stone  upon  me. 

54  "Waters  flowed  over  my  head;  then  I  said,  I  am  cut 

off. 

55  I  called  upon  thy  name,  0  Lord,  out  of  the  low  dun- 

geon. 

56  Thou  hast  heard  my  voice:  hide  not  thine  ear  at  my 

breathing,  at  my  cry. 

57  Thou  drewest  near  in  the  day  that  I  called  upon  thee : 

thou  saidst,  Fear  not. 

58  0  Lord,  thou  hast  pleaded  the  causes  of  my  soul ;  thou 

hast  redeemed  my  life. 


LA:SIEXTATIONrS  III.  31-66. 


59  0  Lord,  tliou  hast  seen  mj  wrong;  judge  thou  my 

cause. 

60  Thou  hast  seen  all  their  vengeance  and  all  their  im- 

aginations against  me : 

61  Thou  hast  heard  their  reproach,  0  Lord,  and  all  their 

imaginations  against  me ; 

62  The  lips  of  those  that  rose  up  against  me,  and  their 

device  against  me  all  the  day. 

63  Behold  their  sitting  down,  and  their  rising  up ;  I  am 

their  music. 

64  Eender  unto  them  a  recompense,  0  Lord,  according  to 

the  work  of  their  hands. 

65  Give  them  sorrow  of  heart,  thy  curse  unto  them. 

66  Persecute  and  destroy  them  in  anger  from  under  the 

heavens  of  the  Lord. 

Tiie  whole  chapter  is  a  beautiful  elegy  upon  the  afflictions 
which  the  prophet  was  experiencing  m  view  of  the  grievous  ca- 
lamities which  had  fallen  upon  his  people.  In  verse  14,  song  is 
used.  The  original  word  is  a  derivative  of  nagan^  signifying 
to  strike  the  strings.  The  noun^  which  is  here  employed,  signi- 
fies, music  of  stringed  instruments.  The  same  word,  in  Lam. 
V.  14,  is  translated  music.  In  the  former  instance  the  prophet 
refers  to  the  derision  which  his  enemies  heaped  upon  him.  The 
idea  in  the  original  is,  that  his  foes  shouted,  and  not  only  em- 
ployed their  voices,  but  stringed  instruments,  in  triumphing  over 
him.  The  same  term  is  used  in  the  63d  verse  of  the  same  chapter 
in  a  similar  sense,  and  translated  music.  In  Lam.  v.  14,  Jere- 
miah speaks  of  the  sadness  of  his  afflicted  people.  Even  the 
young  men  had  ceased  to  be  joyful,  and  the  cheering  sound  of 
their  harps  could  no  longer  be  heard. 


432 


EZEKIEL — INTRODUCTOKY  REMARKS. 


BOOK  OF  THE  PROPHET  EZEKIEL 

INTRODUCTORY  REMARKS. 

This  prophet  was  one  of  those  whom  Nebuchadnezzar, 
king  of  Babylon,  carried  captive  into  his  own  dominions, 
after  the  destruction  of  Jerusalem  and  the  Temple,  so 
beautifully  and  pathetically  described  by  Jeremiah  in  his 
inimitable  Lamentations.  Ezekiel  resided  at  some  distance 
from  Babylon,  on  the  river  Chebar,  and  there  commenced 
his  career  as  an  inspired  prophet  of  God.  He  had  many 
remarkable  visions,  which  cast  a  shade  of  obscurity  over 
some  parts  of  his  writings.  With  great  vehemence  he  re- 
proves the  sins  of  his  people. 

Some  critics  of  late  have  raised  doubts  in  reference  to 
the  canonicity  of  the  book,  and  endeavored  to  show  that 
some  parts  of  it  were  not  written  by  Ezekiel ;  but  their 
objections  have  been  unanswerably  refuted,  and  the  com- 
position is  now  almost  universally  received  as  authoritative 
and  canonical.  The  chief  objection  of  toe  prophet  is  to 
administer  consolation  to  his  afflicted  people.  His  style  is 
much  more  bold  and  denunciatory  than  that  of  Jeremiah. 
Ezekiel  is  oftener  in  the  tempest — amid  the  raging  of  the 
elements.  He  delights  in  the  terrific — the  awful.  He  was 
a  person  of  extensive  information  and  great  genius.  Bishop 
Lowth  describes  him  thus  (Lowth's  Sac.  Poet,  of  the 
Heb.,  Lect.  22) :  "Ezekiel  is  much  inferior  to  Jeremiah  in 
elegance;  in  sublimity  he  is  not  even  excelled  by  Isaiah; 
but  his  sublimity  is  of  a  totally  different  kind.  He  is  deep, 
vehement,  tragical ;  the  only  sensation  he  affects  to  excite, 
is  the  terrible;  his  sentiments  are  elevated,  fervid,  full  of 


EZEKIEL  I.  14,  22-28. 


433 


fire,  indignant ;  his  imagery  is  crowded,  magnificent,  terrific 
sometimes  almost  to  disgust;  bis  language  is  pompous, 
solemn,  austere,  rough,  and  at  times  unpolished :  he  em- 
ploys frequent  repetitions,  not  for  the  sake  of  grace  or 
elegance,  but  from  the  vehemence  of  passion  and  indig- 
nation. Whatever  subject  he  treats  of,  that  he  sedulously 
pursues,  from  that  he  rarely  departs,  but  cleaves  as  it  were 
to  it;  whence  the  connection  is  in  general  evident  and 
well  preserved.  In  many  respects  he  is  perhaps  excelled 
by  the  other  prophets;  but  in  that  species  of  composition 
to  whicli  he  seems  by  nature  adapted, — the  forcible,  the 
impetuous,  the  great  and  solemn, — not  one  of  the  sacred 
writers  is  superior  to  him.  His  diction  is  snfiiciently  per- 
spicuous ;  all  his  obscurity  consists  in  the  nature  of  the 
subject.  Visions  (as  for  instance,  among  others,  those  of 
Hosea,  Amos,  and  Jeremiah)  are  necessarily  dark  and  con- 
fused. The  greater  part  of  Ezekiel,  towards  the  middle 
of  the  book  especially,  is  poetical,  whether  we  regard  the 
matter  or  the  diction." 

Michaelis  and  others  intimate  that  Lowth  is  probably  a 
little  too  enthusiastic  in  his  praise  of  Ezekiel.  Still,  he 
was  a  splendid  prophet  and  poet — the  Homer  of  the  He- 
brews. As  a  beautiful  specimen  of  his  poetry,  read  the 
glowing  and  sublime  description  of  his  vision  of  Jehovah 
enthroned  above  the  cherubim  (Ezek.  i.  4-14, 22-28),  as 
translated  by  Herder. 

EzehieVs  vision  of  God  enthroned  above  the  Cherubim. 

4  I  looked,  and  lo !  a  whirlwind  from  the  North 
Came  sweeping  onward,  a  vast  cloud,  that  rolled 
Its  voliunes,  charged  with  gleaming  fire,  along, 
And  cast  its  dazzling  splendors  all  around. 
Now  from  within  shone  forth,  what  seemed  the  glow 
Of  gold  and  silver,  molten  in  the  flame, 
10 


434 


EZEKIEL'S  YISIOX  OF  DEITY. 


5  And  in  the  midst  thereof  the  form  expressed, 
As  of  a  four-fold  living  thing — a  shape, 
That  yet  contained  the  semblance  of  a  man. 

6  AYith  four-fold  visage  each,  and  each  four  wings, 

7  On  upright  limbs  and  cloven  feet  they  stood. 
And  shone  with  splendor  as  of  burnished  brass. 
Withdrawn  beneath  their  wings/on  every  side  . 

8  Were  human  hands,  for  each  four-sided  seemed, 
And  four-fold  had  their  faces  and  their  wings. 

9  Then,  wing  to  wing,  and  each  to  each  close  joined, 
They  turned  not  in  their  going,  but  went  forth, 
Advancincr  each  with  look  and  course  unchancred. 

10  In  all  the  four-fold  visasfed  four  was  seen 
The  face  of  man;  the  right  a  lion,  and  an  ox 
The  left  distinguished,  and  to  all  the  four 
Belonged  an  eagle's  visage.    By  itself 

11  Distinct,  their  faces  and  their  wings  they  each 
Extended  upward,  joining  thus,  it  seemed. 

Two  wings  for  flight,  while  two  their  bodies  veiled, 

12  With  course  direct,  and  forward  each  advanced. 
Whither  the  spirit  moved  they  went,  nor  ever  turned. 

13  The  several  living  forms,  like  glowing  coals 
Appeared.    What  seemed  the  flame  of  torches  played 
Between  them,  and  the  dazzling  light  of  fire. 

From  out  the  fire  went  gleaming  lightnings  forth ; 

14  And  quick,  as  lightnings  flash,  the  living  forms 
Were  here  and  there,  went  forth  and  back  returned. 

22  Above  their  heads,  high  over-arching,  seemed 
An  azure  firmament  outspread,  like  clear 
Transparent  crystal,  that  inspired  with  awe. 

23  Approaching  near  the  firmament,  their  wings. 
Extending  wing  to  wing,  were  upward  spread. 
With  two  they  bore  themselves  aloft,  with  two 


EZEKIEL  I.  14,  22-28. 


435 


24  They  veiled  tlieir  bodies  round.    And  as  they  went, 
I  heard  the  rushing  sound  of  wings,  like  rush 

Of  mighty  waters,  or  the  distant  sound 

Of  thunder,  the  dread  voice  of  Shaddai. 

They  went  with  sound  of  tumult,  Jike  an  host, 

And  when  they  stopped,  they  closed  again  their  wings, 

25  For  when,  from  the  o'er-arching  firmament 
Above  a  voice  was  uttered  forth,  they  stood 
With  wings  depending,  and  close  veiled  around. 

26  And  high  upraised  above  the  firmament 
There  seemed  the  sapphire  vSplendor  of  a  throne. 
And  on  the  throne  there  sat,  what  seemed  the  form 

27  Of  man.     It  shone  with  amber  glow  of  gold 
And  silver  intermixed,  as  burning  fire. 
Both  inward  and  without,  and  from  the  loins 
Above  and  underneath  it  seemed  like  fire. 
And  shone  with  radiant  lustre  all  around. 

28  As  shines  the  rainbow  in  the  day  of  rain, 
So  seemed  the  lustre  of  that  radiant  form. 
The  aspect  of  Jehovah's  Majesty 

I  saw  in  this,  and  fell  upon  my  face 
And  heard  the  voice  of  one  that  spake 

There  are,  in  the  book  of  Ezekiel,  some  alhisions  to  music. 
The  poem  was  written  about  595-536  B.  C.  To  bloio  the  trum- 
pet (Ezek.  vii.  14).    The  writer  here  employs  two  derivatives 

^'pri  "^'^^h  and  noun  meaning  to  bloio  a  blast.  The 

prophet  is  describing  the  afflictions  of  his  people,  and  intimates  that 
none  go  up  to  battle  when  they  are  called^  evidently  referring 
to  the  war  trumpet.  The  Septuagint  has  oaXmoare  aaXmyyt 
salpisate  salpingi^  blow  the  trumpet,  hi  chap.  xxvi.  13,  occur 
songs,  harps.  The  writer  in  prophetic  vision  beholds  the  mul- 
titudes of  Nebuchadnezzar's  warriors  coming  up  with  fury  against 
Tyre,  to  slay  her  inhabitants,  and  cause  her  sougs  of  joy  and 


436 


MUSIC  OF  EZEKIEL. 


instrumental  music  to  cease.  The  usual  term  for  songs  is  em- 
ployed, viz:  shir  (vid.  Rem.  on  Ex.  xv.  1).  The  term  trans- 
lated harp  is  the  Icinnor  (vid.  Rem.  on  Gen.  iv.  21).  Chap,  xxvii. 
25,  sing.  The  ordinary  term  is  here  used.  Chap,  xxviii.  13, 
tabreis,  pipes.  The  prophet  is  here  speaking  of  the  beauty  and 
glory  of  Tyre,  and  warning  the  inhabitants  of  the  appalling  calami- 
ties which  were  sure  to  fall  upon  them.  Among  other  things  he 
speaks  of  their  musical  instruments.  Tahrets.  This  is  the 
toph  (vid.  Rem.  on  Gen.  xxxi.  27;  Ex.  xv.  20).  Pipes. 
The  original  of  this  is  a  noun  derived  from         naqabh^  to 

hollow  out,  to  excavate,  to  bore.   The  noun  [neqebh)  means 

a  cavity,  a  pipe,  and  sometimes  refers  to  musical  instruments, 
T.  H.  Home  supposes  that  it  was  the  hautboy.  Ilnlil  is  the 
usual  word  denoting  the  flute  (vid.  Rem.  on  1  Sam.  x.  5 ;  1 
Kings,  1. 40).  Some  suppose  that  ueqebh  does  not  refer  to  music 
in  this  place  (vid.  Gesen.  Heb.  Lex.  under  iHp^)-  We  incline  to 

the  opinion  that  there  is  reference  here  to  a  wind  instrument  of 
music.  At  least  the  etymology  of  the  word  strongly  favors 
that  idea.  Chap,  xxxiii.  8,  4,  5,  6.  Trumpet.  This  is  the 
shophar  or  crooked  trumpet  (vid.  Rem.  on  Ex.  xix.  16).  Song- 
instruments  (Ezek.  xxxiii.  82).  God  is  represented  here  as  de- 
claring to  the  prophet,  that  the  children  of  Israel  are  deceptive 
— listening  to  the  preacher's  voice  and  being  apparently  de- 
lighted with  his  exhortations,  but  considering  them  as  a  song 
and  an  instrument,  and  not  performing  the  duties  enjoined.  For 
song,  the  usual  word  shir  is  employed.  A  derivative  of  fiagan 
is  translated  instrument.  It  refers  to  a  stringed  instrument 
(vid.  Rem.  on  Ps.  iv.  title).  Chap.  xl.  44,  singers.  The  original 
is  the  plural  of  shir,  referring  to  the  singers  in  the  temple. 


DANIEL — : 


•INTRODUCTORY  REMARKS. 


437 


THE  BOOK  OF  DANIEL 

INTRODUCTORY  REMARKS, 

This  prophet  was  carried  a  captive  to  Babylon  606 
years  B.  C,  which  was  seven  years  before  Ezekiel  shared 
a  similar  fate.  The  former  was  learned  in  Chaldaean  litera- 
ture, and  highly  honored  by  the  Babylonian  monarchs, 
having  been  promoted  to  an  elevated  official  position. 
From  the  fact  that  he  often  speaks  in  the  first  person,  it  is 
evident  that  he  wrote  the  book  ascribed  to  him,  though 
his  name  is  not  prefixed.  The  first  part  relates  to  his  own 
history  and  that  of  the  Jews.  The  second  part  contains 
important  prophecies  relating  to  the  various  kingdoms  of 
the  world,  in  reference  to  the  advent  of  Jesus  Christ,  and 
other  important  events  extending  from  the  establishment 
of  the  Persian  empire  to  the  final  judgment  and  consum- 
mation of  all  things.  The  writings  of  Daniel  are  con- 
sidered as  less  obscure  than  those  of  the  other  prophets. 
His  style  is  clear,  simple,  and  not  as  lofty  and  figurative 
as  that  of  the  others. 

The  evidence  of  the  canonicity  of  the  book,  external 
and  internal,  is  abundant.  Various  neological  writers 
have  objected  to  this  view,  but  they  have  been  ably  re- 
futed by  Dr.  Hengstenberg  of  Berlin. 

This  book  is  not  so  highly  poetical  as  some  other  pro- 
phetical writings,  still  it  contains  fine  specimens  of  the 
beautiful  and  sublime.  Take,  for  instance,  the  description 
of  Deity  in  Dan.  vii.  9,  10,  as  translated  by  Herder  (vid. 
Herder's  Heb.  Poetry  by  Marsh,  vol.  ii.  pp.  41,  42.) 


438  BABYLONISH  ROYAL  BAND  OF  MUSIC. 

9  This  I  saw,  "Qntil  the  thrones  were  raised, 
And  the  ancient  of  days  enthroned, 
His  garment  was  white  as  snow, 
The  hair  of  his  head  like  pure  wool. 
His  throne  was  like  the  fiery  flame, 
Its  wheels  like  burning  fire. 
10  A  fiery  stream  issued  forth, 
And  went  before  his  face, 
A  thousand  thousand  ministered  to  him, 
Ten  thousand  times  ten  thousand  stood  before  him. 
The  judgment  was  set, 
And  the  Books  were  opened. 

Dais-jel  iii.  5,  10,  15. 

5  So  tliat  at  what  time  ye  liear  the  sound  of  tlie 
cornet,  flute,  harp,  sackbut,  psaltery,  dulcimer,  and 
all  kinds  of  music,  ye  fall  down  and  worship  the 
golden  image  that  ISTebucliadnezzar  the  king  hath 
set  up : 

10  Thou,  O  king,  hast  made  a  decree,  that  every 
man  that  shall  hear  the  sound  of  the  cornet,  flute, 
harp,  sackbut,  psaltery,  and  dulcimer,  and  all  kinds 
of  music,  shall  fall  down  and  worship  the  golden 
image. 

15  ISTow  if  ye  be  ready  that  at  what  time  ye 
hear  the  sound  of  the  cornet,  flute,  harp,  sackbut, 
psaltery,  and  dulcimer,  and  all  kinds  of  music,  ye 
fall  down  and  worship  the  image  which  I  have 
made  ;  well :  but  if  ye  worship  not,  ye  shall  be  cast 
the  same  hour  into  the  midst  of  a  burning  fiery 


DANIEL  III.  5,  10,  15. 


439 


furnace ;  and  who  is  tliat  God  that  shall  deliver 
you  out  of  my  hands  ? 

There  are  a  few  allusions  to  music  in  this  book. 

Cornet^  Jiute^  sackbiU,  harp^  psaltery^  dulcimer. — Here  is  an 
account  of  a  remarkable  concert  of  instruments  belonging  to  the 
Babylonish  royal  band  of  musicians.  Nebuchadnezzar  had 
caused  a  golden  image  to  be  constructed,  and  had  called  to- 
gether the  magnates  of  his  realm,  commanding  them,  when  they 
should  hear  the  music  of  his  band,  to  fall  down  and  worship  the 
image.  The  best  performers,  undoubtedly,  and  the  most  im- 
portant instruments  in  his  dominions,  were  employed  on  that 
great  occasion. 

Cornet. — This  is  the  qeren  (we  have  here  the  Chaldee  form 
i^^'lp    qdrrui)^  horn.     In  the  most  ancient  times,  this  in- 

strument  was  made  of  the  horn  of  an  ox,  and  subsequently  of  a 
ram's  horn.  Yobhel^  mesLn'mg  jiibel  or  jubilee,  generally  accom- 
panies qeren,  though  it  is  not  found  here.    M'^naanlm  (Q'^^^!]- 

3^!D^)      rendered  cornets  in  II  Sam.  vi.  5,  but  incorrectly,  as 

it  is  obviously  a  pulsatile,  and  the  cornet  a  wind,  instrument. 
The  qeren  might  more  properly  be  translated  cornel,  as  the  lat- 
ter is  a  musical  tube  increasing  in  diameter  from  the  mouth- 
piece to  the  lower  end,  and  is  a  sort  of  horn  (vid.  Rem.  on  II 
Sam.  vi.  5 ;  I  Chrori.  xiii.  8).  The  Scptuagint  has  salpinx, 
trumpet.     Flute    (jj^tl^pl^ltl)^    mashroqiytha). — This  word 

occurs  four  times  in  the  book  of  Daniel  (Dan.  iii.  5,  7,  10,  15), 
and  in  no  other  part  of  the  sacred  writings.  It  is  a  noun  from 
the  verb  p^.tS;  {^^^^f/(^9)i  signifying  to  hiss,  to  whistle.  Some 

suppose  that  the  noun  was  the  name  of  a  modified  form  of  the 
Hebrew  ugabh  or  organ ;  but  it  is  generally  and  with  more 
probability,  thought  to  be  the  double  flute,  or  flute  with  two 
reeds  (vid.  a  representation  of  it  on  p.  161).  The  Septuagint  has 
avptv^  [s7/rinx),  signifying,  the  pipe  of  Fan.  The  term  for  the 
single  flute  is  ha  hi  (vid.  Rem.  on  I  Sam.  x.  5). 


440 


BABYLONISH  MUSIC. 


Sachbut. — x\ccording  to  the  order  of  the  Hebrew,  liarp  should 
precede   sacJclut.     The  original    for    the    latter    is  jj^^^D 

T  :  - 

[sabb^ka).  Bat  the  sackbui  is  a  hor/i,  one  species  of  which  is 
the  trombone. 

Sab¥ka  evidently  refers  to  a  stringed  instrument,  and  is  in 
correctly  translated  sacbut.  The  Septuagint  renders  it  oau,3vK7]g 
(sambukes^  sambuke).  Gesenius  supposes  it  to  have  been  sim- 
ilar to  the  jiebhel,  which  he  believes  to  be  the  harp  or  bjre.  The 
next  term  is  harp,  jjiri^J^  {qayth^ros),  cithora,  meaning  harp. 
The  Greek  cithara  was  derived  from  this  Chaldee  term.  The 
Hebrew  word  for  harp  is  kinnor  (vid.  Rem.  on  Gen.  iv.  21). 

Psaltery  ynj'*^^  pUanfr'in. — This  Chaldee  term  is 
supposed  to  represent  the  Hebrew  nebhel.  It  probably  indicates 
a  stringed  instrument,  but  its  precise  form  we  cannot  ascertain. 
The  word  occurs  also  in  verses  7,  10,  and  15,  of  the  same  chap- 
ter, and  in  no  other  part  of  the  scriptures. 

Dulcimer  H'-i'l'D  siunpon^yah.  —  A  Chaldee  word, 
meaning  a  double  pipe  with  a  sack,  a  bagpipe.  The  Greek  term  is 
ovjKbcji'La  sumphonia,  symjyhony,  harmony.  It  was  undoubtedly 
a  wind  instrument  made  of  reeds.  The  Syrians  called  "it  sam- 
bonja.  In  the  seventh  verse  of  the  same  chapter  the  same  mu- 
sical terms  occur  with  the  exception  of  the  last,  which  is  omitted 
in  the  Chaldee.  The  Septuagint  omits  that  word  in  verse  5. 
In  verse  10,  the  same  terms  occur  as  in  verse  5.  The  same 
also  in  verse  15. 

Chapter  vi.  18,  instruments  of  music.  These  words  re- 
fer to  a  remarkable  occasion.  It  seems  that  Daniel  had 
been  promoted  by  Darius  to  the  highest  office  in  his  king- 
dom :  but  the  princes  who  were  inferior  to  Daniel  in  authority, 
moved  by  envy,  drew  from  the  king  a  decree,  that  whoever 
should  make  a  petition  to  any  god  or  man  except  Darius,  for 
thirty  days,  should  be  cast  into  the  lion's  den.  Daniel  heeded 
not  the  king's  command,  and  prayed  to  his  God  three  times  a 
day.  Consequently,  the  terrible  penalty  of  disobedience  was 
inflicted  upon  him.    Darius,  however,  was  in  great  affliction  in 


DANIEL  III.  5,  10,  15. 


view  of  the  dangerous  situation  of  the  prophet.  He  spent  the 
night  in  fasting,  and  would  not  allow  any  instruments  of  music 
to  be  brought  before  him.  The  Chaldee  term  for  instruments 
of  music  is  ^ini  dahh^van^  signifying,  concubine^  from  l^n*! 

)  T-:  -  T  T 

dahhah,  to  thrust^  to  push,  to  strike.  Hence  some  suppose  that 
it  refers  to  music.  The  passage  evidently  indicates  that  the 
king  would  not  indulge  in  any  kind  of  pleasure  while  Daniel 
was  in  the  den  of  lions. 


4^2 


HOSEA — INTKODUCTORY  REMARKS. 


THE  BOOK  OF  HOSEA. 

INTRODUCTORY  REMARKS. 

The  prophecies  contained  in  this  book  are  supposed  to 
have  been  made  and  committed  to  writing  between  the 
years  810  and  725  B.  C.  The  object  of  the  prophet  is  to 
reprove  the  Jews  for  their  aggravated  transgressions,  and 
especially  for  the  sin  of  idolatry.  He  speaks  of  their 
grievous  captivity  by  the  Assyrians,  and  calls  upon  them 
to  repent  of  their  iniquities.  The  style  of  the  composi- 
tion exhibits  marks  of  great  antiquity.  It  is  concise,  ab- 
rupt, vehement,  and  was,  undoubtedly,  at  first  in  a  metri- 
cal form,  though  the  precise  arrangement  is  now  lost. 
This  book  seems  to  contain  only  some  of  Hosea's  leading 
prophecies,  and  is  consequently,  in  some  parts,  very  ob- 
scure. One  grand  idea  pervades  the  whole  book,  and 
absorbs  the  mind  of  the  prophet.  It  is  the  estrangement 
of  Israel  and  Judah  from  Jehovah,  and  the  question  how 
they  can  be  restored  to  the  favor  of  God.  In  his  bold 
earnestness,  Hosea,  in  prophetic  vision,  beholds  the  righteous 
reduced  to  the  lowest  extremities  of  want  and  distress,  and 
then  raised,  as  it  were,  to  heaven  by  the  bestow ment  of  the 
divine  blessing.  In  the  vehemence  of  his  emotions  he 
seems  to  be  bewildered  and  almost  overwhelmed,  uttering 
broken  metaphors  and  unfinished  sentences,  and  passing 
from  one  subject  to  another  with  the  greatest  precipitancy. 
The  first  part  of  the  book  is  rather  repulsive,  but  the  last 
part  closes  with  great  beauty.  The  abruptness  and  agita- 
tion of  the  writer  are  succeeded  by  a  heavenly  calmness. 
His  furious  and  incoherent  declarations  are  changed  into 


HOSEA  XIV.  4-9. 


US 


sweet,  consoling,  elevated  musical  strains  of  unearthly  elo- 
quence. Take,  for  example,  the  last  chapter,  from  verse 
4  to  the  close,  as  translated  bj  Noyes : 

4  "I  will  heal  their  rebellion ;  I  will  love  them  freely ; 
For  my  anger  is  turned  away  from  them. 

5  I  will  be  as  the  dew  to  Israel ; 
He  shall  bloom  as  the  lily. 

And  strike  his  roots  like  Lebanon. 

6  His  branches  shall  spread, 

And  his  beauty  shall  be  as  the  olive-tree, 
And  his  fragrance  as  Lebanon. 

7  They  that  dwell   under  his  shadow,  shall  gather 

strength ; 
They  shall  revive  as  the  corn  ; 
They  shall  shoot  forth  as  the  vine , 
Their  name  shall  be  like  the  wine  of  Lebanon. 

8  Ephraim  shall  say.  What  have  I  more  to  do  with  idols  ? 
I  will  hear  him ;  I  will  care  for  him  ; 

I  will  be  like  a  green  olive-tree ; 
From  me  shall  thy  fruit  be  found." 

9  Who  is  wise,  that  he  may  understand  these  things  : 
Prudent,  that  he  may  know  them  ? 

For  the  ways  of  Jehovah  are  right, 
And  the  righteous  walk  in  them ; 
But  in  them  transgressors  stumble. 

Sing  (Hosea  ii.  15;  v.  17  in  Heb.).  The  original  is  a  de- 
rivative of  anah,  to  sing  (vid.  Rem.  on  Ex.  xxxii.  18). 

Cornet,  trumpet  (Hos.  v.  8).  These  are  the  shophar  or 
crooked  trumpet,  and  hataotsera  or  straight  trumpet  (vid.  Rem. 
on  Ex.  xix.  16;  Lev.  xxv.  9;  Num.  x.  2;  II  Chron.  vii.  6). 
For  the  sake  of  variety  in  expression,  one  of  these  words  is 
translated  cornet,  as  that  instrument  is  one  species  of  the  trum- 


444  MUSIC  OF  HOSEA. 

pet.  The  prophet  is  speaking  of  the  aggravated  sins  of  Israel, 
and  threatens  the  infliction  upon  her  of  the  divine  wrath.  The 
trumpet  shall  be  sounded,  war  will  ensue,  and  Israel  be  over- 
thrown. 

Trumpet  (Hos.  viii.  1).  This  is  the  shophar  or  war  trumpet 
(vid  Rem.  on  Ex.  xLx.  16). 


JOEL — INTRODUCTORY  REMARKS. 


445 


THE  BOOK  OF  JOEL 

INTRODUCTORY  REMARKS. 

The  prophecies  contained  in  this  book  were  written 
about  810-660  B.  C.  Various  opinions  have  been  ad- 
vanced by  scholars  in  respect  to  the  time  when  Joel  lived ; 
but  it  is  now  generally  admitted  that  he  was  a  contempo- 
rary of  Amos  and  Hosea.  The  prophet  graphically  de- 
scribes the  sins  of  the  priesthood  and  lait}^,  calling  upon 
both  to  repent,  to  fast  and  pray.  Finally,  in  glowing, 
beautiful  language,  he  speaks  of  the  conversion  and  return 
of  God's  favored  people  to  the  land  of  their  fathers.  His 
style  is  highly  poetic,  solemn,  vehement,  elegant,  and  sub- 
lime. In  speaking  of  the  judgments  which  were  to  fall 
upon  the  Jews,  he  represents  a  vast  army  of  locusts  led 
on  by  Deity  himself,  rushing  with  vengeance  upon  those 
who  had  incurred  the  Divine  displeasure.  In  describing 
the  final  contest  between  idolatry  and  Christianity,  he 
speaks  of  great  multitudes  assembled  in  one  place.  Dark- 
ness covers  them.  Mount  Olivet  is  suddenly  in  a  blaze, 
from  whose  brilliant  light  the  countenances  of  the  wicked 
are  visible.  A  voice  from  Zion  shakes  the  heavens  and 
the*  earth,  and  Jehovah  appears  in  behalf  of  his  people. 

The  style  of  Joel  is  sombre,  and  often  terrific  and  sub- 
lime. Take  for  example  chapter  ii.  1-11,  as  translated  by 
Noyes : 

1     Blow  ye  the  trumpet  in  Zion; 

Sound  an  alarm  in  my  holy  mountain ! 
Let  all  the  inhabitants  of  the  land  tremble ! 
For  the  day  of  Jehovah  cometh ;  for  it  is  near ! 


446 


HEBEEW  POETRY. 


2  A  day  of  darkness,  and  gloominess; 
A  day  of  clouds,  and  thick  darkness. 

As  the  morning  light  spreadeth  itself  upon  the  moun- 
tains, 

There  cometh  a  numerous  people  and  a  strong ; 
Like  them  there  have  been  none  of  old  time, 
And  after  them  there  shall  not  be, 
Even  to  the  years  of  many  generations. 

3  A  fire  devoureth  before  them, 
And  behind  them  a  flame  burneth ; 

The  land  is  as  the  garden  of  Eden  before  them, 
And  behind  them  a  desolate  wilderness ! 
Yea,  nothing  escapeth  them. 

4  Their  appearance  is  like  the  appearance  of  horses, 
And  like  horsemen  do  they  run ; 

5  Like  rattling  chariots  they  leap  on  the  tops  of  the 

mountains; 

Like  the  crackling  flame  of  fire,  which  devoureth 
stubble ; 

Like  a  mighty  host  set  in  battle  array. 

6  Before  them  the  people  tremble. 
And  all  faces  gather  blackness. 

7  They  run  like  mighty  men  ; 
They  climb  the  wall  like  warriors; 
They  march  every  one  on  his  way ; 
They  change  not  their  paths. 

8  One  doth  not  trust  another ; 
They  march  every  one  in  his  path ; 

And  if  they  rush  against  the  sword,  they  are  not 
wounded. 

9  They  run  through  the  city ; 
They  run  upon  the  wall ; 

They  climb  up  upon  the  houses ; 

They  enter  in  at  the  windows,  like  a  thief. 


JOEL  III.  9-21. 


447 


10  The  earth  quaketli  before  tliem, 
And  the  heavens  tremble : 

The  sun  and  the  moon  are  darkened, 
And  the  stars  withdraw  their  shining. 

11  Jehovah  uttereth  his  voice  before  his  army ; 
His  camp  is  very  great ; 

He  is  strong  that  executeth  his  word ; 

The  day  of  Jehovah  is  great,  and  very  terrible ; 

Who  shall  be  able  to  bear  it? 

Compare  this  with  chapter  iii.  9-21. 

9     Proclaim  ye  this  among  the  nations, 
"  Prepare  war !    Stir  up  the  mighty  ones  ! 
Let  all  the  warriors  draw  near;  let  them  come  up !  " 

10  Beat  your  ploughshares  into  swords, 
And  your  pruning-hooks  into  spears ; 
Let  the  weak  say,  I  am  strong! 

11  Assemble  yourselves  and  come,  all  ye  nations  round 

about ; 

Gather  yourselves  together ! 

Yet  there  will  Jehovah  bring  low  your  mighty  ones. 

12  Let  the  nations  rise  and  come  up  to  the  valley  of 

Jehoshaphat ! 
For  there  will  I  sit  to  Judge  all  the  nations  around. 

13  Put  ye  in  the  sickle,  for  the  harvest  is  ripe ; 
Come  and  tread,  for  the  wine-press  is  full ; 
The  vats  overflow ; 

For  their  wickedness  is  great ! 

14  The  multitudes,  the  multitudes,  in  the  valley  of  judg- 

ment ! 

For  the  day  of  Jehovah  is  near  in  the  valley  of  Je- 
hoshaphat; 

15  The  sun  and  the  moon  are  darkened. 
And  the  stars  withdraw  their  shining. 


448 


MUSIC  OF  JOEL. 


16  Jehovali  also  roareth  from  Zion, 
And  uttereth  his  voice  from  Jerusalem ; 
The  heavens  and  the  earth  shake. 
Jehovah  is  a  refuge  to  his  people ; 

A  strong-hold  to  the  sons  of  Israel. 

17  Then  shall  ye  know  that  I  am  Jehovah  jour  God, 
Dwelling  in  Zion,  mj  hoi v  mountain  ; 

And  Jerusalem  shall  be  holy  ; 

Strangers  shall  pass  through  her  no  more. 

18  Iq  that  day  shall  the  mountains  drop  down  new 
wine, 

And  the  hills  shall  flow  with  milk, 
And  all  the  streams  of  Judah  shall  flow  with  water. 
A  fountain  shall  come  forth  from  the  house  of  Jehovah, 
That  shall  water  the  valley  of  Shittim. 

19  Egypt  shall  be  a  waste, 

And  Edom  a  desolate  wilderness, 

For  their  violence  against  the  sons  of  Judah ; 

For  they  shed  innocent  blood  in  their  land. 

20  But  Judah  shall  be  inhabited  forever. 

And  Jerusalem  from  generation  to  generation. 
*  21  And  I  will  avenge  their  blood,  which  I  have  not 
avenged, 

And  Jehovah  will  dwell  upon  Zion. 

There  are  only  two  allusions  to  music  in  the  hook,  and  they 
are  found  in  chapter  ii.  1  and  15. 

Blow  the  trumpet. — The  same  expression  is  used  in  both  cases. 
This  is  the  shophar  or  crool:ed  war  trumpet  (vid.  Rem.  on  Ex. 
xix.  16 ;  Lev.  xxv.  9). 


AMOS — INTKODUCTORY  REMARKS. 


449 


THE  BOOK  OF  AMOS. 

[NTRODUCTORY  REMARKS. 

This  book  is  supposed  to  have  been  written  B.  C.  810- 
785.  Amos  informs  us  that  he  was  not  a  prophet,  neither 
the  son  of  a  prophet,  indicating  that  he  was  not  educated 
in  the  schools  of  the  prophets.  He  was  called  to  the  pro- 
phetic office  from  the  occupation  of  a  herdsman  and  gath- 
erer of  sycamore  fruit.  He  was  contemporary  with  Hosea, 
and  predicted  the  overthrow  of  the  nations  surrounding  " 
Judiea.  He  condemns  the  wickedness  of  the  fovored 
people  of  God,  and  encourages  them  with  prospective  de- 
liverance from  their  foes  if  they  should  repent  of  their 
sins. 

Jerome,  Calmet,  and  others  have  regarded  the  book  of 
Amos  as  rude,  and  sadly  wanting  in  all  the  characteristics 
of  an  elevated  and  finished  style ;  but  Bishop  Lowth  de- 
clares that,  "  in  sublimity  and  magnificence,  he  is  almost 
equal  to  the  greatest,  so  in  splendor  of  diction  and  clear- 
ness of  expression,  he  is  scarcely  inferior  to  any." 

It  is  certain  that  his  conceptions  were  exceedingly  vivid. 
In  prophetic  vision  he  was  often  in  the  midst  of  terrific 
scenes,  and  his  mind  was  consequently  in  the  highest  state 
of  excitement.  He  was  full  of  the  fury  of  the  Lord,  and 
uttered  with  vehemence,  abruptness,  and  severity,  the 
fiercest  and  most  awful  denunciations  against  the  enemies 
of  righteousness.  He  deals  with  disobedient  Israel  in  a 
summary,  startling,  and  indignant  manner.  His  language 
is  not  so  smooth,  beautiful,  and  elegant  as  that  of  some 
other  prophets,  but  it  is  so  energetic,  and  his  thoughts  so 


450 


POETRY  OF  AMOS. 


original,  elevated,  and  sublime,  that  the  reader  is  awed, 
excited,  and  charmed.  His  imagery  is  pastoral,  and  some 
of  it  exceedingly  fine.  As  a  sample  of  his  terrific  denun- 
ciations, we  present  the  first  part  of  chapter  ix.,  v.  1-8, 
Noyes'  translation. 

1  I  saw  the  Lord  standing  upon  the  altar ;  and  he  said. 
Smite  the  capitals,  so  that  the  pillars  shall  tremble ; 
Break  them  in  pieces  upon  the  heads  of  all  of  them ! 
And  their  residue  will  I  slay  with  the  sword. 

He  that  fleeth  of  them  shall  not  flee  from  danger, 
And  he  that  escapeth  of  them  shall  not  escape  into 
safety. 

2  Though  they  dig  down  to  the  lower  world. 
Thence  shall  my  hand  take  them ; 
Though  they  climb  up  to  heaven. 
Thence  will  I  bring  them  down. 

3  Though  they  hide  themselves  on  the  top  of  Carmel, 

I  will  search  for  them,  and  thence  will  I  take  them 
away ; 

Though  they  hide  themselves  from  mine  eyes  in  the 

bottom  of  the  sea, 
There  will  I  command  the  serpent,  and  he  shall  bite 

them. 

4  Though  they  go  into  captivity  before  their  enemies, 
There  will  I  command  the  sword,  and  it  shall  slay 

them ; 

I  will  set  mine  eyes  upon  them  for  evil,  and  not  for 
good. 

5  For  the  Lord  Jehovah  of  hosts 

Is  he,  that  toucheth  the  earth,  and  it  shall  melt, 

And  all  that  dwell  therein  shall  mourn ; 

All  of  it  shall  rise  in  waves  like  a  river. 

And  shall  be  overflowed,  as  by  the  river  of  Egypt ; 


AMOS  IX.  11-15. 


451 


6  He  that  baildetli  his  upper  rooms  in  the  heavens, 
And  foundeth  his  arch  upon  the  earth ; 

That  calleth  up  the  waters  of  the  sea, 

And  poureth  them  out  upon  the  face  of  the  earth ; 

Jehovah  is  his  name. 

7  Are  ye  not  as  the  Ethiopians  to  me,  0  children  of 

Israel,  saith  Jehovah  ? 
Did  I  not  bring  Israel  from  the  land  of  Egj^pt, 
And  the  Philistines  from  Caphtor,  and  the  Syrians 

from  Kir? 

8  Behold  the  eyes  of  the  Lord  Jehovah  are  upon  the 

sinful  kingdom, 
And  I  will  destroy  it  from  the  face  of  the  earth ; 
Yet  will  I  not  utterly  destroy  the  house  of  Jacob,  saith 

Jehovah. 

As  a  specimen  of  his  less  sublime  but  beautiful  style, 
read,  in  the  same  chapter  vs.  11-15,  as  translated  by  Noyes. 

11  In  that  day  I  will  raise  up  the  fallen  tabernacle  of 
David, 

And  I  will  close  up  the  breaches  thereof. 

And  raise  up  its  ruins, 

And  I  will  build  it,  as  in  the  days  of  old. 

12  That  they,  who  are  called  by  my  name,  may  possess 

the  remnant  of  Edom, 
And  all  the  nations. 
Thus  saith  Jehovah,  who  doeth  this. 

13  Behold  the  days  come,  saith  Jehovah, 

That  the  plougher  shall  draw  near  to  the  reaper. 
And  the  treader  of  grapes  to  the  sower  of  the  seed ; 
And  the  mountains  shall  drop  new  wine. 
And  all  the  hills  shall  melt. 

14  I  will  bring  back  the  captives  of  my  people  Israel, 


462 


MUSIC  OF  AMOS. 


And  they  shall  build  the  desolate  cities,  and  shall  in- 
habit them ; 

And  they  shall  plant  vineyards,  and  drink  the  wine  of 
them? 

They  shall  also  make  gardens,  and  eat  their  fruit. 
15  I  will  plant  them  in  their  land, 

And  they  shall  no  more  be  rooted  up  from  the  land, 

which  I  have  given  them, 
Saith  Jehovah,  thy  God. 

There  are  a  few  references  to  music  in  this  hook.  The  first 
occurs  in  chapter  ii.  2. 

Shouting — sound  of  the  trumpet. — This  refers  to  the  destruc- 
tion which  was  to  fall  upon  wicked  Moab.  Fire  and  sword 
were  to  lay  her  desolate.  The  war  trumpet  was  to  be  sounded 
for  an  attack  upon  her  bulwarks.  This  is  the  shophar  or 
crooked  trumpet  (vid.  Rem.  on  Ex.  xix.  16  ;  Lev.  xxv.  9). 
The  word  translated  shouting  is  teruoh  in  the  original,  signify- 
ing to  sound  an  alarm  (vid.  Rem.  on  Num.  x.  5  ;  xxix.  1).  In 
chapter  iii.  6,  trumpet  (shophar)  occurs  again  in  a  similar  sense, 
as  in  Amos  ii.  2.  In  chapter  v.  23,  viols  and  songs  occur. 
For  songs  the  usual  term  shir  is  used.  Viol  is  the  nehhel  or 
psaltery  (vid.  Rem.  on  I  Sam.  x.  5  ;  II  Sam.  vi.  5). 

Chanty  viol,  instruments  of  music  (Amos  vi.  5). — The  He- 
brew    chant  is  a  derivative  of  the  verb  ^D^^  [par at),  to  prate^ 

-  T 

to  chatter.  It  may  be  applied  to  music,  and  would  signify  the 
utterance  of  sound  in  a  garrulous  manner.  Nehhel  (psaltery) 
is  here  translated  viol. 

Instruments  of  7nusic,  literally,  instruments  of  song. — The 
Hebrew    is   ^^'TJli-^bS  (kHey-shir)    (vid.  Rem.  on  I  Chron. 

XV.  16 ;  I  Sam.  xviii.  6).  In  chapter  viii.  3,  10,  the  word  songs 
occurs.    The  plural  of  shir  is  used  in  both  cases. 


HABAKKUK  I.  1-17. 


453 


THE  BOOK  OF  HABAKKUK. 

INTRODUCTORY  REMARKS. 

This  book  was  written  B.  C.  612-598.  Habakkuk  is 
supposed  to  have  been  contemporary  with  Jeremiah.  He 
dwells  upon  the  sins  of  the  Jewish  people,  graphically 
describes  the  destruction  of  Judah  and  Jerusalem  by  the 
Chaldgeans  in  consequence  of  their  wickedness,  and  finally 
comforts  the  Jews  under  their  trying  afflictions.  The  first 
part  of  this  prophecy  is  in  the  form  of  a  dialogue  between 
the  prophet  and  Deity.  The  remainder  is  an  ode  of  great 
beauty  and  sublimity. 

The  inspired  penman's  description  of  the  ferocity  of 
the  Chaldseans  is  exceedingly  vivid  and  startling.  The 
last  part  of  the  prophecy  is  regarded  by  Bishop  Lowth  as 
one  of  the  most  perfect  specimens  of  the  Hebrew  ode  ex- 
tant. The  imagery  is  grand  almost  beyond  description. 
The  writer  describes  the  majestic  movements  of  Jehovah 
through  the  Jewish  economy.  His  march  commences  in 
the  wilderness  of  Paran — he  is  clothed  with  light — the 
pestilence  goes  before  him — the  earth  moves — the  nations 
are  scattered — the  mountains  bow — his  arrows  fly — his 
spear  glitters — the  sun  and  moon  stand  still !  The  de- 
scription is  in  the  highest  degree  sublime.  Eead  the  song 
as  translated  by  ISToyes. 

Habakkuk  i.  1-1 Y. 

1  The  prophecy  which  was  revealed  to  the  prophet 

Habakkuk. 

2  How  long,  O  Jehovah,  do  I  cry,  and  thou  dost  not  hear  I 
How  long  do  I  complain  to  thee  of  violence,  and  thou 

dost  not  save  ! 


454 


MUSIC  OF  HABAKKUK. 


3  Why  dost  thou  suffer  me  to  see  iniquity,  and  behold 

wickedness  ? 
For  spoiling  and  violence  are  before  me ; 
There  is  contention,  and  strife  exalteth  itself ! 

4  Therefore  the  law  faileth, 

And  judgment  is  not  pronounced  according  to  truth  ; 
For  the  wicked  encompasseth  the  righteous, 
Therefore  wrong  judgment  is  pronounced. 
6  Behold  ye  among  the  nations,  and  look  ! 
Yea,  wonder  and  be  astonished ! 
For  I  do  a  work  in  your  days, 
Which  ye  will  not  believe,  though  it  be  told  you. 

6  For  behold,  I  raise  up  the  Chaldosans, 
A  fierce  and  swift  people. 

Which  go  over  the  breadth  of  the  earth,  [own. 
To  take  possession  of  dwelling-places  that  are  not  their 

7  They  are  terrible  and  dreadful ; 

Their  decisions  and  decrees  go  forth  according  to  their 
pleasure. 

8  Their  horses  are  swifter  than  leopards. 
And  fiercer  than  evening  wolves. 
Their  horsemen  leap  proudly  ; 
Their  horsemen  come  from  far  ; 

They  fly  like  an  eagle,  hastening  to  devour. 

9  All  of  them  come  for  violence  ; 

The  multitude  of  their  faces  is  directed  forwards. 
And  they  gather  captives  as  the  sand. 

10  They  also  scoff  at  kings. 

And  princes  are  to  them  a  laughing-stock ; 
They  deride  every  strong-hold. 
For  they  heap  up  earth,  and  take  it. 

11  Then  their  spirit  is  renewed,  and  they  transgress,  and 

become  guilty  ; 
This  their  strength  is  made  their  god. 


nABAKKTTK  1.  1-17. 


455 


12  Art  thou  not  from  everlasting,  0  Jehovah,  my  God, 

my  Holy  One  ? 
"We  shall  not  die  ! 

Thou,  0  Jehovah,  hast  appointed  them  for  judgment ; 
Thou,  0  Rock,  hast  ordained  them  for  chastisement: 

13  Thou  that  art  of  purer  eyes  than  to  behold  evil, 
And  canst  not  look  on  wickedness  ! 

Why  then  dost  thou  look  on  transgressors. 
And  art  silent,  when  the  wicked  swalloweth  up  the 
man  that  is  more  righteous  than  he  ? 

14  And  why  makest  thou  men  as  the  fishes  of  the  sea, 
As  the  reptiles  that  have  no  ruler  over  them  ? 

15  They  take  up  all  of  them  with  the  hook, 
They  catch  them  in  their  net. 

And  gather  them  in  their  drag  ; 
Therefore  they  rejoice  and  exult. 

16  Therefore  they  sacrifice  to  their  net, 
And  burn  incense  to  their  drag  ; 
Because  by  them  their  portion  is  fat, 
And  their  food  plenteous. 

17  Shall  they  therefore  empty  the  net, 

And  slay  the  nations  continually  without  mercy  ? 

Ewald  calls  this  song  Dithyrambic  verse.  The  recital  of  it 
was  doubtless  intended  to  be  accompanied  with  instrumental 
music.  There  are  allusions  to  music  in  chapter  iii.  1,  3,  9,  13, 
19.  In  the  first  verse  or  title  the  term  shigeonoth  occurs.  It 
means  an  ode  or  song.  A  simihir  term  is  used  in  the  title  of 
the  seventh  psalm,  where  it  probably  means  a  loanderiiig^ plain- 
tive song  (vid.  Rem.  on  Ps.  vii.  Title). 

In  verses  3,  9,  and  13,  selah  occurs,  probably  in  the  sense  of 
silence.  In  verse  19  we  are  informed  that  this  song  is  dedi- 
cated to  the  chief  singer  (vid.  Rem.  on  Ps.  iv.  Title).  The 
term  for  stringed  imtruments  is  neglaoth^  the  usual  term  (vid. 
Bern,  on  Job  xxx.  9  ;  Ps.  iv.  Title). 


456  MUSIC  OF  ZEPHANIAH. 


THE  BOOK  OF  ZEPHANIAH. 

rNTRODUCTORY  REMARKS. 

This  book  was  written  B.  C.  640-609.  Zephaniah  is 
supposed  to  have  been  contemporary  with  Jeremiah,  and 
his  prophecies  resemble  those  of  that  seer.  Some  critics 
maintain  that  this  composition  is  an  abridgment  of  that 
of  Jeremiah  ;  but  it  is  evident  from  the  contents  that  the 
prophecies  of  Zephaniah  preceded  those  of  Jeremiah  (cf. 
Jer.  ii.  5,  20,  22,  with  Zeph.  i.  4,  5,  9). 

The  inhabitants  of  Judah  had  become  contaminated 
with  idolatry  and  other  heinous  sins,  and  Zephaniah  was 
commissioned  to  charge  upon  them  their  revolting  wick- 
edness, to  announce  the  destruction  awaiting  them,  and 
urge  them  to  repentance.  He  then  foretells  the  final  dis- 
comfiture of  their  enemies,  and  promises  that  the  Jews 
shall  be  blessed  of  Heaven. 

The  style  of  this  prophet  is  not  characterized  by  the 
abruptness,  impetuosity,  and  sublimity  of  some  of  his  con- 
temporaries. He  seems  to  possess  qualities  which  belong 
to  all,  though  not  strikingly  developed.  He  is  calm, 
grave,  solemn,  and  sometimes  vehement  and  furious. 
Zephaniah  is  poetical,  but  his  writings  do  not  exhibit  the 
highest  beauties  of  refined  poetry. 

There  are  three  or  fjur  allusions  to  music  in  the  hook. 
Chapter  i.  16,  trumpet.  This  is  the  shoph<n\  or  war  trumpet. 
The  writer  is  speaking  of  the  judgments  which  were  to  fall 
upon  Judah  and  Jerusalem.  The  trumpet  indicates  war.  Their 
enemies  shall  destroy  them.  Chapter  ii.  14,  sing.  Here  is  a 
terrific  idea.    The  prophet  is  speaking  of  the  destruction  of 


ZEPH.A>s'IAH  III.  U. 


457 


Nineveh.  After  describing  its  utter  desolation,  he  declares 
that  the  cormorant  and  bittern  shall  sui^  in  the  windows.  The 
original  is  a  derivative  of  shir,  usually  translated  to  sing. 
Chapter  iii.  14,  sing — shout.  A  derivative  of  ranan  is  used  for 
sing  (vid.  Rem.  on  Lev.  ix.  24).  This  is  the  language  of  tri- 
umph. Israel  was  eventually  to  exult  over  her  enemies,  and 
shout  for  victory.  Verse  17,  singing.  The  original  of  this  is 
also  a  derivative  of  ranan,  indicating  rejoicing  under  the  bless- 
ings of  God. 


THE  BOOK  OF  ZECHARIAH. 

INTRODUCTORY  REMARKS. 

The  prophecies  contained  in  this  book  were  made  B.  C. 
520-518.  Zechariah  was  undoubtedly  one  of  the  captives 
who  returned  to  Jerusalem  on  account  of  the  decree  of 
Cyrus.  He  prophesied  concerning  the  restoration  of  the 
temple,  the  incarnation  of  the  Messiah,  the  war  of  the 
Romans  aorainst  the  Jews,  and  the  final  coming:  of  Christ. 
Some  parts  of  the  book  are  obscure,  from  the  f\\ct,  doubt- 
less, that  its  predictions  are  not  yet  all  fulfilled.  Zecha- 
riah is  considered  as  next  to  Isaiah  in  the  evangelical  char- 
acter of  his  prophecies.  The  book  is  quite  prosaic,  but 
the  language  is  pure,  and  the  style  natural  and  adapted  to 
the  subjects  discussed,  being  in  the  historical  parts  very- 
simple,  while  in  the  prophetical  portions  it  is  elevated  and 
often  in  the  highest  degree  sublime  (vid.  Dr.  Blayney's 
translation  of  Zech.  Prel.  Dis.  pp.  15,  16).  The  writer,  in 
some  of  his  flights  of  inspiration,  is  exceedingly  vivid, 
and  inspires  the  reader  with  the  most  exalted  emotions. 

There  are  a  few  allusions  to  music  in  the  book.   Chap.  ii.  10, 
sing.   The  original  is  a  derivative  of  ranan  (vid.  Rem.  on  Lev. 
20 


458 


MUSIC  OF  ZECHARIAH. 


ix,  24).  Verse  10  in  our  translation  is  verse  14  in  Hebrew. 
The  prophet  here  calls  upon  Zion  to  sing  and  rejoice  in  view  of 
the  restoration  of  the  temple.  Chapter  iv.  7,  shoutings.  This 
refers  to  the  great  joy  which  would  occur  at  the  completion  of 
the  temple.  The  original  is  not  a  musical  term.  It  means 
noise,  tumult,  vociferations.  Chap.  ix.  9,  14.  Shout — blow  the 
trumpet. — The  original  of  shout  is  a  derivative  of  rua 

meaning  to  make  a  noise,  or  tumult.  The  prophet  foresees  the 
Saviour  approaching  Jerusalem,  amid  the  acclamations  of  the 
people,  as  described  in  the  Gospels.  In  v.  14,  Jehovah  is  repre- 
sented as  defending  his  people.  He  will  blow  the  trumpet  (crook- 
ed, or  war  trumpet),  and  call  out  warriors  to  defend  them  from 
their  foes.  This  is  the  last  allusion  to  music  in  the  Old  Testa- 
ment. 


s 


THE  NEW  TESTAMENT, 


INTRODUCTORY  REMARKS. 

In  connection  with  our  general  remarks  on  Hebrew  po- 
etry, we  have  already  shown  that  the  poetic  effusions  of 
the  New  Testament  have  the  same  grand  characteristics  as 
those  of  the  Old,  the  principal  of  which  is  different  forms 
of  parallelism  (vid.  p.  240,  su-pra).  It  should  be  remarked 
that  much  of  the  poetry  of  the  New  Testament,  with  the 
exception  of  quotations  from  the  Old,  is  of  a  prosaic  char- 
acter. Some  of  it,  like  the  sermon  on  the  mount,  is 
didactic,  and  not  highly  poetic,  if  it  can  be  considered  as 
at  all  partaking  of  that  character.  The  incarnation  of 
Christ,  his  crucifixion,  his  resurrection  from  the  dead,  the 
final  judgment,  a  heaven  of  blessedness,  the  pit  of  woe, 
and  other  exciting  themes,  elevate  the  imagination  to  the 
highest  point,  and  are  eminently  poetical;  but  the  sub- 
jects are  not  always  described  in  that  vivid  and  senten- 
tious style  which  is  so  prevalent  in  the  Old  Testament. 
The  sermon  on  the  mount  has  evidently  characteristics  of 
poetr\^,  though  not  in  the  highest  degree.  The  same  is 
true  of  the  parables,  some  of  which  exhibit  great  beauty, 
elegance,  and  sublimity.  The  writings  of  Paul  are  some- 
what poetical ;  but  it  is  the  closing  part  of  the  New  Tes- 
tament— the  Apocalypse — where  we  perceive  the  most 
splendid  flights  of  imagination. 

(459) 


460 


HISTORICAL  BOOKS. 


THE  HISTORICAL  BOOKS. 

INTRODUCTORY'  REMARKS. 

These  are  the  Gospels — Matthew,  Mark,  Luke,  and  John, 
— and  the  Acts  of  the  Apostles.  The  design  of  the  former 
is  to  establish  the  truth  that  Jesus  is  the  Messiah,  and  thus 
confirm  the  Christian's  faith  in  the  Son  of  God,  and  to  re- 
fute the  calumnies  of  opposers  to  piety.  Matthew,  Mark, 
and  Luke  describe  the  works  and  doctrines  of  Christ  in 
Galilee^  while  John  gives  an  account  of  his  actions  and 
tenets  at  Jerusalem  and  in  Judoea. 

The  music  of  this  part  of  the  sacred  volume  is  of  a 
later  age  than  that  which  we  have  been  considering. 
When  the  New  Testament  was  prepared,  music,  and  the 
arts  and  sciences  generallj",  had  reached  a  high  state  of 
improvement. 


THE  GOSPEL  BY  MATTHEW. 

INTRODUCTORY  REMARKS. 

This  book  was  probably  written  about  37  or  88  years 
after  Christ,  though  some  eminent  scholars  place  it  at  a 
much  later  date.  It  is  maintained  by  some  critics  that  it 
was  originally  written  in  Hebrew  or  Syro-Cbaldaic,  and 
by  others  that  it  was  composed  in  Greek.  The  former 
opinion  is  sustained  by  the  highest  authority,  and  is  prob- 
ably the  correct  one.  From  numerous  references  to  this 
Gospel  by  the  Apostolic  Fathers  and  their  successors,  its 
authenticity  is  fully  established.  Its  style  is  simple,  per- 
spicuous, impressive,  and  energetic. 


MATTHEW  VI.  2;  IX.  23. 


461 


There  are  a  few  allusions  to  music  in  the  book. 

Matthew  vi.  2. 

Tlierefore  when  thou  doest  tJiiiie  alms,  do  not 
sound  a  trumpet  before  thee  as  the  hypocrites  do, 
in  the  synagogues,  and  in  the  streets,  that  tliey  may 
have  glory  of  men.  Verily,  I  say  unto  you,  they 
have  their  reward. 

Sound  a  trumpet. — ^The  original  of  this  is  aaX^LaTjg  {salpises), 
from  (TaATTi^cj  [salpidzo),  to  trumpet,  to  sound  the  trumpet.  Sal- 
pinx is  employed  in  the  Septuagint,  for  the  Hebrew  shophar,  or 
crooked  trumpet,  for  qeren  horn,  and  for  the  hdtsota^ra,  or 
straight  trumpet,  proving  that  it  is  the  general  term  in  the  Greek 
language  for  trumpet.  The  idea  in  this  passage  is,  that  the 
Pharisees  made  themselves  as  conspicuous  as  possible  in  order 
to  be  seen  of  men^  while  the  Saviour  directed  his  disciples  to 
take  the  opposite  course.  There  is  no  evidence,  as  some  sup- 
pose, that  the  Pharisees  literally  blew  a  trumpet  before  them. 

Matthew  ix.  23. 

And  when  Jesus  came  into  the  ruler's  house,  and 
saw  the  minstrels  and  the  peo2:)le  making  a  noise. 

Mi}istrels. — The  original  of  this  is  av/.rjrag  {auletas),  flute-play- 
ers. There  is  here  an  allusion  to  the  custom  of  wailing  and  howl- 
ing for  the  dead.  The  custom  was  common  among  the  Greeks 
and  Pomans.  They  rent  their  hair,  hideously  yelled,  and 
played  upon  wind  instruments  of  music.  The  Hebrew  term  for 
flute,  ishalil  (vid.  Pem.  on  I  Sam.  x.  5  ;  I  Kings  i.  40 ;  II 
Kings  iii.  15).  The  custom  of  mourning  for  the  dead  is  very 
ancient.  According  to  Townsend's  chronological  arran2:ement, 
the  first  instance  on  record  is  found  in  the  patriarch  Job  (Job  i. 
20),  when  he  heard  that  his  children  were  no  more.  He  arose, 
rent  his  mantle,  shaved  his  head,  fell  upon  the  ground,  and  wor- 


462 


MUSIC  OF  MATTHEW. 


shipped  Jehovab.  This  was  about  2130  years  B.  C,  according 
to  the  usual  computation.  In  verse  21  of  the  same  chapter,  also 
in  Job  ii.  8,  and  several  other  places  in  that  book,  there  are  allu- 
sions to  the  same  custom.  Abraham,  B.  C.  1871,  came  to 
mourn  and  weep  for  Sarah,  as  recorded  in  Gen  xxiii.  2.  There 
was  mourning  in  respect  to  the  anticipated  death  of  Isaac,  and 
on  various  other  occasions  (vid.  Gen.  xxvii.  41  ;  cf.  Num.  xi. 
10;  I  Sam.  ii.  5;  II  Sam.  iii.  31  ;  xiii.  36;  Ruth  i.  9;  Gen. 
xxxvii.  29,  30,  34,  35 ;  xliv.  13,  etc.) 

Matthew  xi.  17. 

We  have  piped  unto  you,  and  ye  have  not 
danced ;  we  have  mourned  unto  you,  and  ye  have 
not  lamented. 

Piped — danced. — The  original  of  piped  is  a  derivative  of  avA^w 
(auleo),  to  pipe,  to  flute  (vid.  Rem.  on  Matt.  ix.  28).  There  is 
an  allusion  here  by  our  Saviour  to  the  sports  of  children. 
The  Pharisees  are  compared  to  children  who  refuse  to  engage  in 
any  play  which  they  do  not  propose  themselves. 

Danced. — The  original  is  a  derivative  of  opxeo)  [orcheo),  to 
jump,  to  hop  by  rule,  to  dance.  The  same  word  is  translated 
danced,  in  Matt.  xiv.  6.  Some  commentators  suppose  that 
there  is  reference  here  to  a  lascivious  dance  ;  but  it  is  hardly 
probable  that  Herod  would  be  pleased  with  such  a  manner  of 
dancing  from  his  own  daughter-in-law. 

Matthew  xxiv.  31. 

And  he  shall  send  his  ans^els  with  a  srreat  sound 
of  a  trumpet,  and  they  shall  gather  together  his 
elect  from  the  four  winds,  from  one  end  of  heaven 
to  the  other. 

Trumpet. — A  derivative  of  salpinx  is  here  used.  There  is 
reference  in  the  chapter  to  the  final  judgment,  and  to  the  de- 


MARK — INTRODUCTORY  REMARKS. 


463 


struction  of  Jerusalem.  The  blowing  of  the  trumpet  probably 
represents  the  preaching  of  the  Gospel  and  gathering  the  elect 
from  all  parts  of  the  earth. 


THE  GOSPEL  BY  MARK, 

INTRODUCTORY  REMARKS. 

Mark  was  the  nephew  of  Barnabas,  and  son  of  Mary, 
who  resided  at  Jerusalem.  His  Hebrew  name  was  Jobn, 
and  be  is  supposed  to  have  adopted  tbe  surname  Mark 
wben  be  visited  foreign  countries  for  tbe  purpose  of  preach- 
ing tbe  gospel.  That  be  was  tbe  author  of  this  compo- 
sition is  evident  from  tbe  unanimous  testimony  of  tbe  an- 
cient Fathers,  and  it  is  generally  believed  that  it  was  writ- 
ten at  Eome,  probably  between  A.,  D.  60  and  63,  though 
commentators  do  not  agree  in  respect  to  it.  Tbe  writer 
gives  an  account  of  tbe  life  of  Christ,  particularly  from  the 
time  of  bis  baptism  till  tbe  occurrence  of  those  tragical 
scenes  which  resulted  in  bis  death  upon  tbe  cross.  Some 
scholars  have  maintained  that  Mark  abridged  bis  Gospel 
from  that  of  Matthew ;  but  Micbaclis  and  others  have  ir- 
refragably  proved  that  this  was  not  the  case. 

His  style  is  simple,  graphic,  and  perspicuous.  He  dis- 
courses upon  a  great  variety  of  subjects,  describing  some 
of  tbe  most  stupendous  events  which  ever  transpired  upon 
earth,  yet  the  history  is  all  condensed  into  a  very  small 
compass. 

There  seems  to  be  no  direct  allusion  to  music  in  the  book. 
In  Chap.  vi.  22.  the  term  danced  occurs.  A  derivative  of 
orcheo  is  used  in  the  original  (vid.  Rem.  on  Matt.  ix.  23  ;  xi.  17). 
Reference  is  made  to  the  dancing  of  Herodias'  daughter  before 
Herod,  described  in  Matt.  xiv.  3-6. 


464 


MUSIC  OF  THE  ANGELS. 


THE  GOSPEL  BY  LUKE. 

INTRODUCTORY  REMARKS. 

Luke  was  probably  descended  from  Gentile  parents,  em- 
braced Judaism  while  young,  and  was  subsequently  con- 
verted to  Christianity.  The  unanimous  testimony  of  an- 
cient writers  attests  the  genuineness  and  authenticity  of 
this  Gospel.  Biblical  scholars  are  generally  agreed  that 
it  was  composed  A.  D.  63  or  64,  for  the  benefit  of  Gentile 
converts.  The  object  of  the  writer  was  to  furnish  a  gen- 
uine account  of  the  life,  works,  and  death  of  Jesus  Christ, 
in  opposition  to  many  narratives  of  no  authority,  which 
were  in  circulation.  According  to  the  testimony  of  Paul, 
Luke  was  a  physician  and  literary  man.  His  style  is  pure, 
energetic,  and  flowing.  The  thought,  in  his  writings,  is 
original,  like  that  of  Paul;  and  the  language  simple,  ani- 
mated, and  often  pathetic  as  well  as  beautiful,  much  re- 
sembling that  of  some  of  the  best  classical  writers  of  the 
age  in  which  he  lived. 

The  references  to  music  are  few. 

Luke  ii.  13,  14. 
13  And  suddenly  tbere  was  witb  the  angel  a  mul- 
titude of  tbe  heavenly  host  praising  God,  and  saying, 

14  Glory  to  God  in  the  highest. 

And  on  earth  peace,  good  will  toward  men. 
Tliis  is  a  remarkable  instance  in  which  multitudes  of  angels 
descended  from  heaven  and  made  the  air  resound  with  their  ex- 
alted praises — with  songs  of  unearthly  sweetness  in  view  of  the 
incarnation  of  the  Messiah.  Their  exclamations  of  praise  to 
God  were  uttered  in  elevated  strains  of  oriental  poetry. 


LUKE  I.  46-55  ;  68-79. 


465 


In  the  first  chapter  there  are  two  instances  of  poetic  effusions. 
One  is  from  the  lips  of  the  Virgin  Mary,  as  follows  : 

Luke  i.  46-55. 

46  And  Mary  said, 

My  soul  doth  magnify  the  Lord, 

47  And  my  spirit  hath  rejoiced  in  God  my  Saviour. 

48  For  he  hath  regarded  the  low  estate  of  his  hand-maiden  : 
For  behold,  from  henceforth   all  generations  shall 

call  me  blessed. 

49  For  he  that  is  mighty  hath  done  to  me  great  things ; 
And  holy  is  his  name. 

50  And  his  mercy  is  on  them  that  fear  him, 
From  generation  to  generation. 

61  He  hath  show^ed  strength  with  his  arm ; 

He  hath  scattered  the  proud  in  the  imagination  of  their 
hearts. 

52  He  hath  put  down  the  mighty  from  their  seats, 
And  exalted  them  of  low  degree. 

53  He  hath  filled  the  hungry  with  good  things. 
And  the  rich  he  hath  sSnt  empty  away. 

54  He  hath  holpen  his  servant  Israel,  in  remembrance  of 

his  mercy, 

55  (As  he  spake  to  our  fathers),  to  Abraham,  and  to  his 

seed,  for  ever. 

The  other  instance  is  from  Zacharias,  the  father  of  John  the 
Baptist,  as  follows : 

Luke  i.  68-79. 

68  Blessed  he  the  Lord  Grod  of  Israel : 

For  he  hath  visited  and  redeemed  his  people, 


466 


GRECIAN  POETRY. 


69  And  hath  raised  up  a  horn  of  salvation  for  us, 

In  the  house  of  his  servant  David  : 
YO  As  he  spake  by  the  mouth  of  his  holy  prophets, 

Which  have  been  since  the  world  began : 

71  That  we  should  be  saved  from  our  enemies, 
And  from  the  hand  of  all  that  hate  us : 

72  To  perform  the  mercy  promised  to  our  fathers. 
And  to  remember  his  holy  covenant ; 

73  (The  oath  which  he  sware  to  our  father  Abraham), 

74  That  he  would  grant  unto  us, 

That  we,  being  delivered  out  of  the  hand  of  our 

enemies. 
Might  serve  him  without  fear, 

75  In  holiness  and  righteousness  before  him, 
All  the  days  of  our  life. 

76  And  thou,  child,  shalt  be  called  the  Prophet  of  the 

Highest, 

For  thou  shalt  go  before  the  face  of  the  Lord  to  pre- 
pare his  ways ; 

77  To  give  knowledge  of  salvation  unto  his  people. 
By  the  remission  of  their  sins, 

78  Through  the  tender  merc}^  of  our  God  ; 

Whereby  the  day-spring  from  on  high  hath  visited  us, 

79  To  give  light  to  them  that  sit  in  darkness  and  in  the 

shadow  of  death ; 
To  guide  our  feet  into  the  way  of  peace. 

Luke  vii.  32. 

They  are  like  unto  cbildren  sitting  in  the  mar- 
ket-place, and  calling  one  to  another,  and  saying, 
We  have  piped  unto  you,  and  ye  have  not  danced  ; 
we  have  mourned  to  you,  and  ye  have  not  wept. 


LUKE  XV.  25. 


467 


Pijoed — danced. — This  is  the  same  expression  as  that  which 
is  found  in  Matt.  xi.  17  (vid.  Rem.  on  Matt.  xi.  17,  supra). 

Luke  xy.  25. 

And  they  began  to  be  merry.  Xow  his  elder 
son  was  in  the  field  :  and  as  he  came  and  drew 
nigh  to  the  house,  he  heard  music  and  dancing. 

Music — dancing. — This  refers  to  the  remarkable  parable  of 
the  prodigal  son.  After  returning  from  his  course  of  degra- 
dation and  wickedness,  to  his  father's  house,  he  was  received 
•with  affection  and  joj.  When  the  older  brother  returned  from 
the  field,  he  heard  music  and  dancing.  The  original  for  music 
is  avfid)G)VLag  (^sumphonias)  the  plural  of  avucpiovia  {sumphonia) 
sgmpkony,  a  concert  of  instruments  of  music.  There  is  here  a 
reference  to  the  ancient  custom  of  holding  musical  concerts  at 
feasts  (vid.  Hom.  Od.  xvii.  358).  The  original  word  for  danc- 
ing is  a  derivative  of  choreo  (vid.  Rem.  on  Matt.  xi.  17 ;  xiv. 
6  ;  Mark  vi.  22,  supra). 


468 


MUSIC  OF  ACTS. 


ACTS  OF  THE  APOSTLES. 

INTRODUCTORY  REMARKS. 

This  book  connects  the  Gospels  with  the  Epistles.  It 
was  con:;posed  bj  Luke,  probably  in  the  year  63,  and  is 
the  first  ecclesiastical  history  ever  written.  It  is,  however, 
a  limited  one,  as  the  writer  omitted  the  history  of  the  Jews 
after  the  conversion  of  Paul,  also  the  progress  of  the  Chris- 
tian religion  in  the  East,  and  in  Egypt.  He  says  nothing 
about  the  church  established  at  Home,  and  presents  but  a 
small  portion  of  Paul's  history.  His  object  seems  to  have 
been  to  confirm  the  truths  of  Christianity  by  a  description 
of  the  manner  in  which  the  influences  of  the  Holy  Spirit 
were  communicated  on  the  day  of  Pentecost,  and  by  a  de- 
lineation of  the  miracles  subsequently  wrought  by  the 
Apostles.  Another  object  of  Luke  was,  to  show  that  the 
Gentiles  had  a  claim  to  admission  into  the  church  of 
Christ.  In  doing  this  he  gives  an  account  of  the  origin 
and  progress  of  the  church  at  Jerusalem  from  the  time  of 
Christ's  ascension  till  the  first  Jewish  persecution.  He 
speaks  of  the  dispersion  of  the  disciples,  the  progress  of 
Christianity  among  the  Samaritans,  the  conversion  of  Paul, 
and  finally,  of  the  Gentiles  who  resided  at  a  distance  from 
Jerusalem.  The  style  is  similar  to  Luke's  other  writings, — • 
pure,  energetic,  and  elevated. 

There  seems  to  be  but  one  reference  to  music  in  the  book, 
and  that  is  in  chap.  xvi.  25.  Two  prisoners,  Paul  and  Silas,  at 
midnight,  in  their  cells,  smig  praises  to  God.  The  foundations 
of  the  prison  were  shaken,  the  doors  flew  open,  and  the  fetters 
which  bound  the  prisoners  were  broken  in  sunder. 


EOMAXS  X.  9. 


469 


THE  EPISTLE  OF  PAUL  TO  THE  ROMAXS. 

IXTRODUCTORY  REMARKS. 

This  Epistle  was  probably  composed  near  the  end  of  the 
year  57  or  beginning  of  58  A.  D.  Paul  was  at  Corinth 
about  that  time,  and  the  letter  was  obviously  written  at 
that  city  (cf.  Eom.  xv.  25-27 ;  xvi.  23  ;  II  Tim.  iv.  20).  Its 
authenticity  is  attested  by  the  Syriac  and  Latin  versions, 
and  by  the  ancient  writers  generally. 

The  occdsion  of  this  Epistle  was  the  following.  Paul 
had  intended  to  visit  the  disciples  at  Rome  in  order  to 
comfort  them  under  their  heavy  afflictions  and  persecu- 
tions ;  but  being  prevented  from  going  to  that  city  on  ac- 
count of  his  journey  to  Spain,  he  addressed  to  them  this 
masterly  letter.  That  church  was  composed  of  Jewish  and 
Gentile  converts.  The  latter  claimed  equal  privileges  with 
the  former,  which  fact  the  Jews  vehemently  opposed.  To 
settle  these  differences  was  the  object  of  the  Apostle.  He 
exhibits  great  power  of  thought,  and  his  arguments  are 
clear,  strong,  and  irrefutable.  The  style  is  graphic,  bold, 
elevated,  and  often  sublime. 

There  is  hut  one  reference  to  music  in  the  letter,  and  that  is 
found  in  chap.  xv.  9,  where  the  word  sing  occurs.  It  is  con- 
tained in  a  quotation  by  the  Apostle  from  Psalm  xviii.  49  (vid. 
Rem.  on  Psalm  xviii.  49). 


470 


MUSIC  OF  THE  GKEEKS. 


THE  FIRST  EPISTLE  OF  PAUL  TO  THE  CORISTHIANS. 

INTEODUCTORY  EEMAEKS. 

It  appears  that  in  the  church  at  Corinth,  as  well  as  in 
that  at  Eome,  there  were  important  differences  between 
the  Jewish  and  Gentile  converts.  Some  of  them  had  be- 
come addicted  to  alarming  vices.  Paul,  having  heard  of 
these  disorders,  and  having  been  requested,  in  a  letter  from 
the  Corinthian  brethren  themselves,  to  advise  them  in  ref- 
erence to  marriage  and  other  subjects,  he  penned  this  Epis- 
tle in  reply.  It  was  probably  written  at  Ephesus  about 
A.  D.  56.  Its  authenticity  is  established  from  the  fact  that 
frequent  citations  are  made  from  it  by  the  Apostolic  Fathers, 
and  subsequent  writers.  The  style  of  this  letter  is  similar 
to  that  of  Paul's  other  writings.  The  Apostle's  character- 
istic, intellectual,  and  ratiocinative  power  is  everywhere 
apparent. 

There  are  a  few  allusions  to  music. 

I  Coei:n^thiaxs  xiiL  1. 

Thougli  I  speak  with  the  tongues  of  men  and 
of  angels,  and  have  not  charity,  I  am  become  as 
sounding  brass,  or  a  tinkling  cymbal. 

Sounding  brass  and  tinkling  cymbal. — The  original  of  the 
former  is  %a/l/cbf  '^ix^'^  {chalkos  echon).  Chalkos  means  b7'ass^ 
and  echon,  sounding.  The  two  united  signify  a  brazen  wind  in- 
strument— a  modern  trumpet.  Some  of  the  false  teachers  at 
Corinth  were  very  eloquent,  and  the  Apostle  would  intimate 
that,  though  they  had  the  tongues  of  men  or  angels  and  had  not 
love  to  God  and  man,  their  eloquence  would  be  merely  the 


I  CORINTHIANS  XIV.  7,  8. 


471 


sound  of  a  wind  instrument.  The  second  expression — iinklinf/ 
cymbal,  is  still  more  expressive  {KVfifiaXov  aXaXa^ov  kumbalon 
alalazon)  the  vacant  and  clamorous  sound  of  a  cymbal.  Instead 
of  tinkling  it  should  be,  as  Dr.  Bloomfield  justly  observes, 
dangerous  cymbal. 

I  CoEmTHiANS  xiy.  7,  8. 

7  And  even  things  without  life  giving  sound, 
whether  pipe  or  harp,  except  they  give  a  distinction 
in  the  sounds,  how  shall  it  be  known  what  is  piped 
or  harped  ?  8  For  if  the  trumpet  give  an  uncer- 
tain sound,  who  shall  p)repare  himself  to  the 
battle  ? 

Sound — pipe — harp — sounds — piped — harped. — Here,  again, 
Paul  illustrates  the  manner  in  which  false  teachers  exhorted  the 
Corinthians,  by  reference  to  musical  instruments,  which  w^ere 
destitutd  of  order  or  distinction  of  sounds.  They  merely  ex- 
hort their  hearers,  and  excite  their  feelings  without  any  worthy 
object  before  them — they  are  vague  and  uncertain  in  their  in. 
structions,  like  numerous  instruments  of  music  playing  without 
any  tune  or  harmony,  or  rather  perhaps  uttering  sounds  differ- 
ent from  those  mtended.  Thus  in  war,  if  an  advance  is  required 
and  a  retreat  is  sounded,  no  one  knows  what  course  to  take. 
For  and  harp,  avXog  [aulos)  a  flute,  and  fCL^apa  (cithara) 
a  kind  of  harp,  represented  by  the  Hebrew  kinnor,  are  em- 
ployed (vid.  Rem.  on  Gen.  iv.  21). 

In  the  latter  part  of  the  verse,  the  same  terms  are  repeated, 
with  the  difference  that  they  are  participles  instead  of  nouns. 

Trumpet  (I  Cor.  xiv.  8). — oaXTTLV^  salpinx  is  the  original  term. 

Sing  (I  Cor.  xiv.  15). — The  original  is  ijjaXd)  psalo.  Dr. 
Bloomfield  supposes  that  it  does  not  necessarily  mean  a  hymn 
sung,  but  that  it  may  signify  a  composition  partly  poetry  and 
partly  prose. 


472  LAST  TRUMPET. 

In  verse  26,  psalm  [ipaXfiog  psalmos)  is  found.  The  passage 
refers  to  the  fact  that  the  value  of  the  various  talents  bestowed 
upon  us  is  to  be  estimated  not  by  their  nature,  but  by  the 
manner  and  degree  in  which  they  are  exercised. 

I  CORINTHIAT^-S  XV.  52. 

We  shall  not  all  sleep,  but  we  shall  all  be 
changed,  in  a  moment,  in  the  twinkling  of  an  eye, 
at  the  last  trumjo,  (for  the  trumpet  shall  sound, 
and  the  dead  shall  be  raised  incorruptible,  and  we 
shall  be  changed). 

Trump  (GaX-niyyL  salpingi),  trumpet  shall  sound  (aaXmaei 
salpisei). — The  Apostle  here  refers  to  a  most  solemn  and  awful 
event,  the  final  judgment.  Some  suppose  that  trumpets  will 
literally  be  sounded  on  that  dreadful  day.  Dr.  Bloomfield  sug- 
gests that  the  earth,  from  some  tremendous  volcano,  may  utter  a 
sound  which  will  be  heard  throughout  her  borders.  History 
informs  us  that  the  sound  from  the  eruptions  of  Cotopaxi  may 
be  heard  twelve  hundred  miles.  It  is  probable,  from  the  dec- 
larations of  the  scriptures,  that  there  will  be  some  external 
indication  of  the  approach  of  that  momentous  event. 


EPHESIANS  Y.  19. 


473 


THE  EPISTLE  OF  PAUL  TO  THE  EPHESIANS. 

*  INTRODUCTORY  REMARKS. 

Mention  is  made  of  this  epistle  by  some  of  the  Apos- 
tolic Fathers,  and  by  nearly  all  later  ecclesiastical  writers, 
as  the  composition  of  Paul.  The  letter  is  undoubtedly 
genuine,  and  was  probably  written  during  the  Apostle's 
first  imprisonment  at  Eome  (vid.  Eph.  iii.  1  ;  iv.  1  ;  vi. 
20).  About  A.  D.  61,  Paul  was  imprisoned  by  the  Jews 
because  he  taught  the  people  that  an  observance  of  the 
Mosaic  law  was  not  essential  to  secure  the  favor  of  God. 
He  labored  mostlj^  among  the  Gentiles,  and,  fearing  that  the 
converts  might  be  led  away  by  false  teachers  during  his 
confinement,  he  wrote  this  Epistle  in  order  to  confirm  his 
brethren  in  the  faith  of  the  gospel.  The  stj'le  of  this 
letter  is  exceedingly  animated,  as  the  writer  had  heard 
that  the  converts  remained  firm  in  the  doctrines  of  Christ. 
He  reasons  powerfully  upon  the  great  plan  of  redemption, 
and  on  justification  by  faith.  He  exhibits  a  glowing  elo- 
quence, and  rises  sometimes  to  the  grand  and  sublime. 

There  is  hut  one  allusion  to  music  in  the  Epistle,  and  that  is 
in  chapter  v.  19.  Psalms,  hymns,  sjnritual  songs,  singing^ 
making  melody. — These  expressions  indicate  that  when  Chris- 
tians feel  cheerful,  instead  of  singing  dissolute  songs  as  do  the 
heathen,  they  should  sing  those  which  are  spiritual.  By  the 
term  psalms  we  understand  not  particularly  the  Psalais  of 
David,  but  spiritual  songs  also  of  other  composers.  Dr. 
Bloomfield  thinks  that  psalms  {^paXiiotg  psalmois),  and  hymns 
eiJ,voLg  emnois),  have  here  nearly  the  same  signification,  and 


474      THESSALONIANS— INTEODUCTORY  REMARKS. 


that  in  distinction  from  spiritual  songs  (oydaig  TTveviiarLKoiq 
odais  pneumatikais),  they  indicate  the  celebration  of  the  praises 
of  God  in  strains  suitable  to  be  sung  in  chorus,  while  the  G)6aL 
(odai)  were  religious  poems  designed  probably  to  be  recited  or 
sung  like  our  solo-anthems.  The  same  expressions  occur  in 
Col.  iii.  16,  with  a  similar  signification.  That  is  the  oyly  allu- 
sion to  music  which  we  have  noticed  in  Paul's  letter  to  the 
Colossians. 


FIRST  EPISTLE  OF  PAUL  TO  THE  THESSALOXIANS. 

INTRODUCTORY  REMARKS 

A  Christian  church  composed  of  Jews  and  Gentiles 
was  first  formed  at  Thessalonica,  under  the  ministry  of 
Paul,  about  the  middle  of  the  first  century  after  Christ. 
The  unbelieving  Jews  raised  such  a  persecution  against 
the  Apostle  and  his  associates,  that  they  were  obliged  to 
flee  to  Beraea,  thence  to  Athens,  and  thence  to  Corinth. 
Thus  Paul,  being  unable  to  visit  the  Thessalonians  again 
as  he  expected  to  do,  sent  Silas  and  Timothy,  and  on  their 
return,  wrote  this  letter  from  Corinth,  A.  D.  52.  The 
subscription  to  the  epistle  informs  us  that  it  was  written 
from  Athens  ;  but  that  is  considered  as  spurious.  This  is 
probably  one  of  the  earliest,  if  not  the  first  letter  which 
Paul  addressed  to  any  church.  Its  genuineness  is  un- 
doubted. Timothy  had  brought  a  very  favorable  report 
from  the  Thessalonian  church,  and  Paul's  object  in  the 
letter  was  to  confirm  the  brethren  in  the  faith  of  the  gos- 
pel, under  the  severe  persecutions  which  they  were  endur- 
ing. 

There  are  two  references  to  music  in  the  letter.  The  first  is 
in  chapter  i.  8,  sounded.  This  refers  to  the  preaching  of  the 
gospel,  and  represents  it  as  proclaimed  by  a  trumpet. 


I  THESSAL0XIAX3  lY.  16. 


475 


I  Thessaloniaxs  iv.  16. 

For  the  Lord  himself  shall  descend  from  heaven 
with  a  shout,  with  the  voice  of  the  archangel,  and 
with  the  trump  of  God  :  and  the  dead  in  Christ 
shall  rise  first. 

Shout — voice  of  the  archangel — trump  of  God. — This  is  a  re- 
markable passage,  referring  to  the  second  advent  of  our  Sav- 
iour— that  terrible  day  when  the  trumpet  shall  arouse  the 
dead  from  their  slumbers  and  summon  them  to  the  final  judg- 
ment. The  imagery  seems  to  be  taken  from  the  triumphal 
march  of  a  sovereign  to  take  possession  of  a  kingdom  by  force 
of  arms.  The  soldiers  rush  on  with  a  shout,  and  the  exciting 
sound  of  the  trumpet  is  heard.  What  the  sound  of  the  last 
trumpet  will  be,  or  whether  there  will  be  any,  we  cannot  tell ; 
but  that  there  will  be  some  striking  and  terrific  external  indica- 
tions is  very  probable.  It  is  suggested  by  one,  as  we  have  al- 
ready intimated,  that  it  may  be  the  voice  of  a  volcano,  extend- 
ing perhaps  to  the  centre  of  the  earth,  shaking  its  deepest  foun- 
dations, and  loud  enough  to  be  heard  on  every  part  of  the  globe 
(vid.  Rem.  on  I  Cor.  xv.  52.  supra). 


476  HEBREWS — INTRODUCTORY  REMARKS. 


THE  EPISTLE  OF  PAUL  TO  THE  HEBREWS. 

INTRODUCTORY  REMARKS. 

There  are  different  opinions  in  reference  to  the  ques- 
tion who  were  the  persons  addressed  in  this  Epistle ;  but 
the  most  probable  supposition  is,  that  they  were  Hebrews 
of  Palestine  residing  at  Csesarea.  The  letter  was  prob- 
ably written  in  Greek,  though  some  maintain  that  it  was 
first  composed  in  Hebrew.  Barnabas,  Clement  of  Eome, 
Silvanus.  Apollos,  and  Paul,  have,  each,  by  different 
critics,  been  considered  as  the  author  of  this  Epistle  ;  but 
it  is  generally  conceded  that  it  was  composed  by  Paul  in 
Italy,  and  probably  at  Eome,  A.  D.  62,  or  in  the  early 
part  of  63.  The  Jews  had  endeavored  to  draw  away  the 
disciples  of  Christ  from  the  profession  which  they  had 
made,  by  showing  the  latter  that  Judaism  was  superior  to 
Christianity.  The  Apostle  unanswerably  refutes  that 
idea,  proving  the  divinity  of  Christ,  and  the  great  supe- 
riority of  the  Gospel  over  the  institutions  of  Moses.  He 
exhorts  the  Christians  not  to  relapse  into  those  vain  cere- 
monies which  they  formerly  observed,  and  shows  that 
salvation  by  grace  is  the  only  ground  of  justification  in 
the  sight  of  God.  He  finally  describes,  with  great  elo- 
quence, the  nature  and  triumphs  of  the  Christian  faith. 
This  letter  is  an  admirable  supplement  to  Paul's  Epistles 
to  the  Komans  and  Galatians. 

There  are  two  allusions  to  music  in  this  Epistle. 


HEBREWS  II.  12  ;  XII.  19. 


477 


Hebkews  ii.  12. 

Saying, 

I  will  declare  thy  name  unto  my  bretliren, 

In  the  midst  of  the  church  will  I  sing  praise  unto  thee. 

Sing. — This  is  a  quotation  from  Psalm  xxii.  22.  The  orig- 
inal is  a  derivative  of  v[j,ve(i)  (humneo)  to  hymn^  to  sing  praises, 

Hebrews  xii.  19. 

And  the  sound  of  a  trumpet,  and  the  voice  of 
words ;  which  voice  they  that  heard,  entreated 
that  the  word  should  not  be  spoken  to  them  any 
more. 

Sound  of  a  trumpet. — Here  is  a  reference  to  that  majestic 
scene,  when  the  Almighty  descended  upon  Mount  Sinai  amid 
thunderings  and  lightnings,  smoke,  the  shaking  of  the  earth, 
and  the  blast  of  the  trumpet,  to  deliver  the  ten  commandments 
to  Moses.  It  is  described  in  Exodus  xx.  18  (vid.  Rem.  on  Ex. 
XX.  18  ;  xix.  13,  supra).  It  is  the  crooked  trumpet  (sliophar)  to 
which  reference  is  made.  The  Apostle  contrasts  the  fearful 
characteristics  of  the  old  dispensation  with  the  mildness  and 
mercy  of  the  new. 

In  the  Epistle  of  James,  v.  13,  there  is  an  allusion  to 
music.  When  Christians  are  persecuted  or  dejected,  let  them 
sing  psalms.  This  is  a  general  direction  to  the  brethren,  when 
they  wish  to  be  merry,  not  to  use  the  sports  of  the  heathen, 
but  to  be  cheerful  in  a  dignified  and  religious  manner. 


478 


APOCALYPSE — JOHX'S  VISION. 


THE  APOCALYPSE. 

'  INTRODUCTOKY  REMAEKS. 

John  was  the  disciple  whom  Jesus  loved,  and  doubtless 
he  possessed  something  of  that  mildness  and  benignity  of 
character  which  shone  so  brightly  in  the  life  of  oar  Sav- 
iour. A  remarkable  sweetness  of  temper,  and  loveliness, 
pervade  his  writings.  There  is  exhibited  in  his  G-ospel  a 
tenderness  and  delicacy  of  expression  which  do  not  appear 
in  the  compositions  of  the  other  evangelists.  In  his  Epis- 
tles, John  is  not  imaginative,  but  grave,  dignified,  tender, 
and  pathetic.  He  sits  like  a  parent  among  his  children, 
and  imparts  to  them  practical  instruction,  animated  by  the 
sympathies  and  feelings  of  a  spiritual  father. 

In  the  Apocalypse  he  appears  in  a  very  different  char- 
acter, and  some  commentators  have  supposed  that  the 
"  beloved  disciple "  could  not  have  been  the  author  of 
that  wonderful  book ;  but  there  is  indubitable  evidence 
that  he  composed  it,  and  we  can  account  for  the  marked 
difference  in  style  from  his  other  writings,  only  on  the 
supposition  that  his  feelings  were  more  elevated  than 
when  composing  his  Gospel  and  Epistles. 

In  the  Apocalypse  the  themes  are  grand,  awful,  and  in 
the  highest  degree  sublime. 

The  author  was  on  a  desolate  island,  and  the  visions 
of  God  "  poured  upon  him  in  overwhelming  splendor  and 
terror.  He  seems  to  be  in  the  midst  of  scenes  which  hu- 
man language  cannot  adequately  describe.  He  witnesses 
the  opening  of  the  seals — the  bursting  of  the  vials  of 
divine  wrath — torrents  of  fire  and  blood — terrible  con- 
flicts— defeat — victory — exultation — agonies — hell  yawn- 


STYLE  OF  THE  BOOK. 


479 


ing  from  beneafh — "heaven  opening  from  above — cliariots 
rushing  to  battle — bloM  flowing — the  groans  of  the  dy- 
ing— doors  opened  in  heaven  and  rejoicings  there — wail- 
ings  unutterable  issuing  from  the  bottomless  pit — great 
multitudes  speaking — trumpets  sounding — lions  roaring — 
dragons  uttering  their  voices — earthquakes  and  thunder- 
ings  reverberating — the  sweet  accents  of  the  new  song 
from  the  redeemed — the  Eternal  sitting  upon  his  throne, 
too  resplendent  for  mortal  sight — and  ten  thousand  times 
ten  thousand  angels  chanting  the  symphonies  of  heaven  ! 

Who  could  look  upon  scenes  like  these  and  not  have 
his  soul  stirred  and  elevated  far  above  its  natural  state  ? 

The  stjde  of  John,  in  the  A230cal3^pse,  admirably  corre- 
sponds with  the  grandeur  of  the  events  which  he  describes. 
Many  parts  of  the  book  are  highly  poetical,  and  some 
suppose  the  whole  to  be  of  the  same  character.  It  is  cer- 
tainly very  sj^mbolical.  Eichhorn  and  others,  on  account 
of  its  changing  actors  and  scenes,  and  its  chorus,  call  it  a 
drama.  Some  pronounce  it  a  lyric  poem.  Stuart  con- 
siders it  an  epopee.  The  object  of  the  author  is  evident- 
ly to  describe  the  incarnation  of  Jesus  Christ,  the  estab- 
lishment of  Christianity,  and  its  final  triumph  over  all 
enemies,  and  the  eternal  happiness  of  the  righteous  in 
heaven.  John,  as  we  have  intimated,  was  an  exile  on  a 
desolate  shore.  The  Saviour  appeared  before  him  and 
made  known  "  the  things  that  are^''  i.  e.,  the  state  of  the 
Christian  churches  in  Asia ;  and  the  things  that  are  to 
he  hereafter^''  i.  e.,  the  fate  of  the  church  from  its  com- 
mencement to  its  consummation  in  glory. 

The  authenticity  of  the  Apocalypse  was  generally,  if  not 
universally,  acknowledged  during  the  first  two  centuries  ; 
but  in  the  third,  it  began  to  be  questioned  by  the  oppo- 
nents of  a  class  of  individuals  who  had  absurd  notions  in 
respect  to  the  Millennium.    Its  authenticity  has  been, 


480 


POETRY  OF  THE  APOCALYPSE. 


however,  well  established,  though  Michaelis,  Dr.  Lell,  and 
some  other  late  critics,  have  endeavored  to  invalidate  its 
authority  ;  but  without  success.  The  book  is  a  fit  con- 
tinuation of  the  prophecies  of  Daniel. 

From  the  testimony  of  Epiphanius  and  Grotius,  some 
suppose  the  book  to  have  been  composed  during  the  reign 
of  the  Emperor  Claudius.  Others  have  thought,  from  its 
Syriac  superscription  (which  is  evidently  spurious),  that  it 
was  prepared  by  John  in  the  island  of  Patmos  during  the 
reign  of  Nero.  Others  still  maintain  that  it  was  composed 
-  before  the  time  of  Domitian  and  the  Jewish  war,  but  do 
not  decide  whether  it  was  under  Claudius  or  Kero.  The 
more  general  opinion,  however,  and  probably  the  correct, 
one,  is,  that  John  was  banished  to  Patmos  near  the  close 
of  Domitian's  reign,  and  that  the  revelations  contained  in 
this  book  were  made  to  him  during  his  exile  there.  His- 
tory informs  us  that  the  death  of  Domitian  occurred  in 
September,  A.  D.  96.  John,  with  other  exiles,  was  then 
released,  and  soon  after,  undoubtedly,  the  composition  was 
made  public.  Basnage,  Mill,  Le  Clerc,  Tomlme,  Lardncr, 
and  other  distinguished  critics  judiciously  place  its  publi- 
cation in  the  year  96  or  97. 

Some  parts  of  the  Apocalypse  are  imperfectly  under- 
stood, from  the  fact  that  its  prophecies  are  not  all  fulfilled, 
but  its  general  scope  is  obvious.  Enough  at  least  is  evi- 
dent, to  convey  to  us  important  instruction.  It  is  to  us 
what  the  Old  Testament  prophecies  were  to  the  Jews. 

A  fine  instance  of  elevated  poetry  is  found  in  xviii. 
2-20. 

2  And  he  cried  mightily  with  a  strong  voice, 
saying ; 

Babylon  the  great  is  fallen  !  is  fallen  ! 
And  is  become  the  habitation  of  devils, 


REVELATIONS  XVIII.  2-20.  481 

And  the  hold  of  every  foul  spirit, 

And  a  cage  of  every  unclean  and  hateful  bird  : 

3  For  all  nations  have  drunk  of  the  wine  of  the  wrath 

of  her  fornication, 
And  the  kings  of  the  earth  have  committed  fornica- 
tion with  her, 

And  the  merchants  of  the  earth  are  waxed  rich  through 
the  abundance  of  her  delicacies. 

4  And  I  heard  another  voice  from  heaven,  saying, 

Come  out  of  her,  my  people. 

That  3'e  be  not  partakers  of  her  sins. 

And  that  ye  receive  not  of  her  plagues. 

5  For  her  sins  have  reached  unto  heaven, 
And  God  hath  remembered  her  iniquities. 

6  Reward  her  even  as  she  rewarded  3'ou, 

And  double  "unto  her  double  according  to  her 
w^orks : 

In  the  cup  which  she  hath  filled,  fill  to  her  double. 

7  How  much  she  hath  glorified  herself,  and  lived  deli- 

ciously, 

So  much  torment  and  sorrow  give  her : 
For  she  saith  in  her  heart,  I  sit  a  queen, 
And  am  no  widow,  and  shall  see  no  sorrow. 

8  Therefore  shall  her  plagues  come  in  one  day. 
Death,  and  mourning,  and  famine ; 

And  she  shall  be  utterly  burned  with  fire : 
For  strong  is  the  Lord  God  who  judgeth  her. 

9  And  the  kings  of  the  earth,  who  have  committed  for- 

nication and  lived  deliciously  with  her, 
Shall  bewail  her,  and  lament  for  her. 
When  they  shall  see  the  smoke  of  her  burning. 
Standing  afar  off  for  the  fear  of  her  torment, 
10      Saying,  Alas,  alas!  that  great  City  Babylon!  that 
mighty  Citj^ ! 
21 


FALL  OF  BABYLON.  » 

For  in  one  hour  is  thy  judgment  come! 
And  the  merchants  of  the  earth  shall  weep  and 
mourn  over  her ; 
For  no  man  buyeth  their  merchandise  any  more  : 
The  merchandise  of  gold,  and  silver,  and  precious 
stones, 

And  of  pearls,  and  fine  linen,  and  purple, 
And  silk,  and  scarlet,  and  all  thyine  wood, 
And  all  manner  vessels  of  ivory. 
And  all  manner  vessels  of  most  precious  wood. 
And  of  brass,  and  iron,  and  marble. 
And  cinnamon,  and  odors,  and  ointments,  and  frank- 
incense, 

And  wine,  and  oil,  and  fine  flour,  and  wheat, 
And  beasts,  and  sheep,  and  horses. 
And  chariots,  and  slaves,  and  souls  of  men. 
And  the  fruits  that  thy  soul  lusteth  after  are  de- 
parted from  thee. 
And  all  things  which  were  dainty  and  goodly  are 
departed  from  thee. 
And  thou  shalt  find  them  no  more  at  all. 
The  merchants  of  these  things  which  were  made 
rich  by  her, 

Shall  stand  afar  off  for  the  fear  of  her  torment, 
weeping  and  wailing. 

And  saying,  Alas,  alas !  that  great  City, 
That  was  clothed  in  fine  linen,  and  purple,  and  scarlet. 
And  decked  with  gold,  and  precious  stones,  and  pearls ! 
For  in  one  hour  so  great  riches  is  come  to  naught. 
And  every  ship-master,  and  all  the  company  in  ships, 

And  sailors,  and  as  many  as  trade  by  sea. 
Stood  afar  off,  and  cried  when  they  saw  the  smoke 
of  her  burning, 

Saying,  What  City  is  like  unto  this  great  Cityl 


REVELATIONS  I.  10. 


483 


19  And  they  cast  dust  on  tlieir  heads,  and  cried, 
Weeping  and  wailing,  saying,  Alas,  alas!  that  great 

City, 

Wherein  were  made  rich  all  that  had  ships  in  the  sea, 
by  reason  of  her  costliness ! 
For  in  one  hour  is  she  made  desolate. 

20  Rejoice  over  her,  thou  heaven. 
And  ye  holy  Apostles  and  Prophets ; 
For  God  hath  avenged  you  on  her. 

In  this  remarkable  passage,  the  destruction  of  Babylon, 
her  inhabitants  having  filled  up  the  measure  of  their  in- 
iquity, appears  in  all  its  horrors  before  the  astonished  view 
of  the  seer.  He  is  in  the  highest  degree  excited,  and  de- 
scribes the  sad  event  in  the  most  vivid  manner. 

There  are,  in  the  book,  several  references  to  music. 

Revelations  i.  10. 

I  was  in  the  Spirit  on  the  Lord's  day,  and  heard 
behind  me  a  great  voice,  as  of  a  trumpet. 

Voice — trumpet. — There  is  reference  here  to  the  wonderful 
vision  of  John  in  Patmos.  He  heard  behind  him  a  great  voice, 
sounding  like  a  trumpet.  It  is  supposed  to  have  proceeded  from 
our  Saviour  in  a  glorified  state.  Great  must  here  mean  lond. 
The  expression,  as  a  trumpet  [o)g  oaXTTLyyoq  hos  salpingos)  shows 
that  the  voice  was  not  a  common  one  in  respect  to  sounds  but  that 
it  was  loud  like  a  trumpet.  It  was  a  trumpet-like  voice,  speaking. 
There  was  evidently  a  sound  which  John  heard ;  but  what  its 
character  was  farther  than  that  it  was  fowo?,  we  have  no  means 
of  ascertaining,  unless  the  allusion  to  a  trumpet  might  indicate 
a  peculiar  sweetness  and  richness  of  sound,  as  well  as  bold  and 
terrific  tones.    It  is  probable  that  reference  is  really  made  to 


484 


MUSIC  OF  HEAVEN". 


the  trumpet^  from  the  foot  that  it  was  so  frequently  used  on  im- 
portant occasions  (vid.  Ex.  xx.  IS ;  Ps.  xlvii.  5 ;  Zech.  ix.  14, 
etc).  In  the  15th  verse  the  voice  which  John  heard  is  said  to  be 
like  the  sound  of  many  waters,  beautifully  referring  to  the  roar 
of  the  ocean. 

Eevelattoxs  iv.  1. 

After  tills  I  looked,  and  beliold,  a  door  teas 
opened  in  heaven :  and  tlie  first  voice  wliicli  I  lieard 
was  as  it  were  of  a  trumpet  talking  with  me ;  which 
said,  Come  up  hither,  and  I  will  show  thee  things 
which  must  be  hereafter. 

An  overwhelming  scene  is  here  described.  A  door  was 
opened  in  heaven,  and  the  writer  heard  a  celestial  voice,  as 
it  were  a  trumpet^  talking  with  him.  This  is  the  same  manner 
of  expression  as  that  which  we  have  just  considered  in  Rev. 
i.  10.  The  trumpet  is  introduced,  to  give  effect  and  im- 
portance to  the  event.  John  was  in  the  Spirit,  saw  a  throne, 
and  Jehovah  sitting  upon  it,  clothed  with  glory  and  terror. 
From  it  thunders  rolled,  lightnings  flashed,  and  many  celestial 
voices  were  heard. 

Eevelatioxs  v.  8-12. 

8  And  when  he  had  taken  the  book,  the  foiu* 
beasts,  and  four  and  twenty  eldei^  fell  down  be- 
fore the  Laml),  having  every  one  of  them  harps, 
and  golden  vials  full  of  odors,  which  are  the  pray- 
ers of  saints.    9  And  thev  sung:  a  new  sone,  savinsr, 

Thou  art  worthy  to  take  the  book,  and  to  open  the 
seals  thereof: 


EEVELATIOXS  V.  S -12. 


485 


For  thou  wast  slain,  and  hast  redeemed  us  to  God  by 
thy  blood 

Out  of  every  kindred,  and  tongue,  and  people,  and 
nation ; 

10  And  hast  made  us  unto  our  God.  kings  and  priests, 
And  we  shall  reign  on  the  earth. 

1 1  And  I  Leheld.  and  I  heard  the  voice  of  many 
Ancrels  round  about  the  throne,  and  the  beasts,  and 
the  elders :  an<.l  the  number  of  them  was  ten  thou- 
sand times  ten  thousand,  and  thousands  of  thousands; 
saying  with  a  loud  voice, 

12  TTorthy  is  the  La:r /o  that  was  slain, 

To  receive  power,  and  riches,  and  wisdom, 

And  strength,  and  honor,  and  glory,  and  blessing. 

This  passage  contains  a  description  of  another  wonderftd  scene. 
He  who  sat  upon  the  throne  had  a  sealed  book,  and  no  one  was 
found  in  heaven  or  on  earth  who  could  open  and  read  it.  Fi- 
nally the  Lamb  approaches  the  throne  and  opens  the  book.  Tbe 
living  creatures  and  the  four  and  twenty  elders  fall  down  before 
him,  having  harjys  {Kida(^ac)  citharas^  the  Hebrew  kinnor  (vid. 
Gen.  iv.  '2 1 ).  Harps  are  mentioned  as  accompanying  instruments 
in  the  anthems  of  praise  which  were  to  follow.  And  they  sung  a 
new  sonp  (v.  9).  The  Lamb  had  opened  the  seals  of  the  book  of 
life.  It  was  a  new  and  an  unspeakably  important  occasion — an 
appropriate  one  to  be  celebrated  by  a  new  song.  Then  in  the 
eleventh  verse,  the  voice  of  many  angels  is  heard  around  about 
the  throne.  Myriads — all  heaven  doubtless — -joined  in  the  solemn 
chorus.  How  entrancing  and  glorious !  The  Eternal  sits  upon  his 
majestic  tlirone — Jesus,  the  Lamb,  approaches  and  takes  the  book 
— the  elders  seize  their  celestial  harps,  and  ten  thousand  times  ten 
thousand  angels  utter  the  praises  of  Immanuel.  What  can  be 
conceived  of  as  more  exalted  and  sublime  I 


486  VOICES  FRO^I  THE  WORLD  OF  SPIRITS. 


Eevelations  vi.  10. 

And  they  cried  witli  a  loud  voice,  saying,  '  How 
long,  O  Lord,  holy  and  true,  dost  thou  not  judge 
and  avenge  our  blood  on  them  that  dwell  on  the 
earth  ? ' 

Cried  with  a  loud  voice. — This  sound,  we  are  informed  in  the 
preceding  verse,  proceeded  from  the  souls  of  those  who  had 
been  slain  for  the  sake  of  Jesus  Christ  and  his  cause.  It  is  sup- 
posed that  this  remarkable  language  refers  to  those  who  had 
been  persecuted  on  account  of  their  attachment  to  the  Saviour, 
and  had  sealed  their  testimony  with  their  own  blood.  There 
may  have  been  a  special  allusion  to  Christians  in  Palestine ;  but 
the  writer  doubtless  intended  also  to  include  others,  it  may  be, 
in  all  ages,  who  have  fallen  by  the  enemies  of  the  cross.  They 
cry  for  vengeance  on  those  by  whom  they  have  been  slain. 
Trom  the  sixth  to  the  eleventh  chapter,  the  Prophet  seems  to  be 
in  the  midst  of  a  tragical  scene.  The  seals  are  opened  by  the 
Lamh  that  ivas  slain,  and  this  is  the  signal  for  fire  and  sword, 
famine  and  pestilence,  death  and  hell,  to  pursue  the  enemies  of 
God  and  of  the  church.  These  instruments  of  torture  are  per- 
sonified, and  cry  out  against  the  wicked.  Every  thing  in 
heaven,  earth,  and  hell  seems  to  be  combined  to  accomplish 
their  destruction.  As  an  army,  before  battle,  is  often  exhorted, 
by  a  reference  to  the  injuries  received  from  the  enemy  about  to 
be  attacked,  so,  before  this  array  of  vengeance  is  put  into  exe- 
cution, the  souls  of  those  who  had  been  slain  in  persecutions 
are  brought  up  to  proclaim  in  the  ears  of  Jehovah  the  dreadful 
tortures  which  they  had  received  from  their  foes.  The  same 
expression  occurs  in  chap.  vii.  2,  as  in  vi.  10.  An  angel  is 
said  to  cry  with  a  loud  voice  to  four  other  angels,  directing  them 
not  to  hurt  the  earth  till  the  servants  of  God  should  be  sealed 
in  their  foreheads,  so  that  they  would  not  be  harmed  in  the  de- 
struction of  the  wicked  which  was  about  to  take  place.  A 
similar  expression  is  employed  in  the  10th  verse. 


KEYELATIOXS  VII.  10-1 2  ;  YIII.  1-13. 


487 


Kevelatioxs  10-12. 

10  And  cried  with  a  loud  voice,  saying, 

Salvation  to  our  God  which  sitteth  upon,  the  throne, 
and  unto  the  Lamb. 

11  And  all  the  An^rels  stood  round  aT)ont  the 
throne,  and  about  the  eklers  and  the  four  beasts, 
and  fell  before  the  throne  on  their  faces,  and 
worshipped  God,  saying, 

12  Amen  !    Blessing,  and  glorv,  and  wisdom, 

And  thanksgiving,  and  honor,  and  power,  and  might, 
Be  unto  our  God  for  ever  and  ever!  Amen. 

Here  is  the  description  of  a  halleluyah  of  praise  to  God  from 
the  innuraerahle  multitude  who  had  received  the  seal  upon  their 
foreheads.  Tiie  language  is  clothed  with  splendid  imagery,  and 
was  probably  intended  to  indicate  the  sympathy  of  all  the  heav- 
enly host  in  the  conversion  of  souls  on  earth,  and  in  the  deliv- 
erance of  the  church  from  persecution  and  adversity  of  every 
kind. 

Eevelatioxs  viii.  1-13. 

1  And  when  he  had  opened  the  seventh  Seal, 
there  was  silence  in  heaven  about  the  space  of  half 
an  hour.  2  And  I  saw  the  seven  Ansrels  which 
stood  before  God ;  and  to  them  were  given  seven 
trumpets.  3  And  another  Angel  came  and  stood 
at  the  altar,  having  a  golden  censer ;  and  there  was 
given  unto  him  much  incense,  that  he  should  offer 
it  with  the  prayers  of  all  saints  upon  the  golden 
altar  which  was  before  the  throne.    4  And  the 


488 


TEUMPETS  SOUNDED  BY  AXGELS. 


smoke  of  tlie  incense,  wIlIcIi  came  with  tlie  prayei-s 
of  tlie  saints,  ascended  up  before  God  out  of  tlie 
Angel's  hand.  5  And  the  Angel  took  the  censer, 
and  filled  it  with  fire  of  the  altar,  and  cast  it  into 
the  earth :  and  there  were  voices,  and  thunderings, 
and  lightnings,  and  an  eai*thquake.  6  And  the 
seven  Angels  which  had  the  seven  trumpets  pre- 
pared themselves  to  sound.  Y  The  first  Angel 
sounded,  and  there  followed  hail  and  fire  minoied 
with  blood,  and  the y  were  cast  upon  the  earth : 
and  the  third  part  of  trees  was  burnt  up,  and  all 
green  grass  was  burnt  up.  8  And  the  second 
Angel  sounded,  and  as  it  were  a  great  mountain 
burnino^  with  fire  was  cast  into  the  sea :  and  the 
third  part  of  the  sea  became  blood;  9  And  the 
thii'cl  part  of  the  creatures  which  were  in  the  sea, 
and  had  life,  died ;  and  the  third  part  of  the  ships 
were  destroyed.  10  And  the  third  Angel  sounded, 
and  there  fell  a  orreat  star  from  heaven,  burninof  as 
it  were  a  lamp,  and  it  fell  upon  the  third  part  of 
the  rivers,  and  upon  the  fountains  of  waters.  11 
And  the  name  of  the  star  is  called  Wormwood : 
and  the  third  part  of  the  waters  became  worm- 
wood; and  many  men  died  of  the  waters,  because 
they  were  made  bitter.  12  .And  the  fourth  Angel 
sounded,  and  the  third  j^art  of  the  sun  was  smitten, 
and  the  third  part  of  the  moon,  and  the  third  part 
of  the  stars;  so  as  the  third  part  of  them  was 
darkened,  and  the  day  shone  not  for  a  third  23art 
of  it,  and  the  night  likewise.    13  And  I  beheld, 


REVELATIONS  VII.  10-12;  VIII.  1-13. 


4S9 


and  heard  an  Angel  flying  througli  the  midst  of 
heaven,  saying  with  a  loud  voice,  "  Woe,  woe,  woe, 
to  the  inhabitants  of  the  earth,  by  reason  of  the 
other  voices  of  the  trumj)et  of  the  thi'ee  Angels, 
which  are  yet  to  sound  !  " 

There  is  reference  here  to  the  last  seal  which  was  to  be 
opened,  and  it  would  seem  that  this  was  to  be  the  closing  scene 
of  disasters  which  were  to  fall  upon  the  wicked  ;  but  the  break- 
ing of  the  seal  is  the  premonitory  signal  of  another  series 
of  catastrophes  to  the  enemies  of  the  cross.  Seven  angels 
sound  as  many  trumijeU^  which  are  indications  of  war  and 
bloodshed.  This  chapter  includes  a  description  of  the  sound- 
ing of  the  first  four  trumpets,  intimating  that  judgments  were 
to  fall  upon  the  earth,  ocean,  rivers,  springs,  and  the  heavens 
above.  Before  the  trumpets  are  sounded,  the  supplication  of 
the  saints  is  made  for  the  deliverance  of  the  church,  and  the 
smoke  of  incense  ascends  before  the  throne.  In  answer  to 
these  entreaties,  an  angel  is  represented  a-s  casting  down  fire 
from  heaven,  causing  thunderings,  lightnings,  and  earthquakes, 
which  are  symbols  of  terrible  judgments  awaiting  the  ungodly. 

In  the  first  verse  it  is  said,  that  there  was  silence  in  heaven^ 
indicating  the  sympathy,  suspense,  and  awe  of  the  heavenly 
inhabitants  before  the  opening  of  the  series  of  calamities  which 
were  to  fall  upon  the  violators  of  God's  law.  The  sublime 
anthems  of  Paradise  are  suspended  for  a  short  time,  in  view  of 
such  awful  scenes.  Some  commentators  suppose,  without  suf- 
ficient reason,  we  think,  that  silence  here  refers  to  the  Millen- 
nium. In  the  second  verse  we  are  informed  that  seven  trum- 
pets  (tnra  aaXniyyeg  hepta  salpinges)  were  given  to  the  seven 
angels,  as  indications  of  the  judgments  which  were  to  follow. 
"When  the  angel  had  cast  the  fire  of  the  altar  upon  the  earth, 
there  were  voices,  and  tliunderings,  and  lightnings,  and  an  earth- 
quake (v.  .5),  indicating  the  dreadful  calamities  which  were  to 
fall  upon  the  human  family.    In  verses  G,  7,  8,  10,  and  12, 


490 


SEVEN  THUNDERS. 


four  of  the  angels  are  said  to  have  sounded  and  brought  dovni 
judgments  upon  the  wicked.  In  the  13th  verse  an  angel  is  rep- 
resented as  flying  through  the  midst  of  heaven,  and  pronouncing 
a  woe  upon  the  inhabitants  of  the  earth  by  reason  of  the  trum- 
pets yet  to  sound.  The  imagery  throughout  the  chapter  is  splen- 
did and  terrific. 

Revelations  ix.  1,  9,  13,  14. 

1  And  tlie  fifth  Angel  sounded,  and  I  saw  a  star 
fall  from  heaven  unto  the  earth ;  and  to  him  was 
given  the  key  of  the  bottomless  pit.  9  And  they 
had  breast-plates,  as  it  were  breast-plates  of  iron ; 
and  the  sound  of  their  wins^s  ivas  as  the  sound  of 
chariots  of  many  horses  running  to  battle. 
•  13  And  the  sixth  Angel  sounded,  and  I  heard  a 
voice  from  the  four  horns  of  the  golden  altar  which 
is  before  God,  saying  to  the  sixth  Angel  which  had 
the  trumpet,  14  Loose  the  four  Angels  which  are 
bound  in  the  great  river  Euphrates. 

Eevelatioxs  X.  3-8. 

3  And  cried  with  a  loud  voice,  as  ivlien  a  lion 
roareth :  and  when  he  had  cried,  seven  thunders 
uttered  their  voices.  4  And  when  the  seven  thun- 
ders had  uttered  their  voices,  I  was  about  to  write : 
and  I  heard  a  voice  from  heaven  saying  unto  me, 
Seal  up  those  things  which  the  seven  thunders  ut- 
tered, and  write  them  not.  5  And  the  Angel  which 
I  saw  stand  upon  the  sea  and  upon  the  earth,  lifted 
np  his  hand  to  heaven,  6  And  sware  by  him  that 
liveth  for  ever  and  ever,  who  created  heaven,  and 


EEVELATIOyS  XI.  12-18. 


491 


the  things  that  therein  are,  and  the  earth,  and  the 
things  that  therein  are,  and  the  sea,  and  the  things 
which  are  therein,  that  there  shonkl  be  time  no 
longer :  7  But  in  the  days  of  the  voice  of  the  seventh 
Angel,  when  he  shall  begin  to  sound,  the  mysteiy 
of  God  should  be  finished,  as  he  hath  declared  to 
his  servants  the  prophets. 

8  And  the  voice  which  I  heard  from  heaven  spake 
unto  me  again  and  said.  '  Go,  and  take  the  little 
book  which  is  open  in  the  hand  of  the  Angel  which 
standeth  upon  the  sea  and  upon  the  earth. 

Revelatioxs  xi.  12-lS. 

12  And  they  heard  a  great  voice  from  heaven, 
saying  unto  them,  '  Come  up  hither.'  And  they 
ascended  up  to  heaven  in  a  cloud ;  and  their  ene- 
mies beheld  them.  13  And  the  same  hour  was 
there  a  great  earthquake,  and  the  tenth  part  of  the 
city  fell,  and  in  the  earthquake  were  slain  of  men 
seven  thousand :  and  the  remnant  were  affrighted, 
and  gave  glory  to  the  God  of  heaven.  14  The 
second  woe  is  past ;  and  behold,  the  third  woe 
Cometh  quickly. 

15  And  the  seventh  Angel  soimded  ;  and  there 
were  great  voices  in  heaven  sa^-ing, 

The  kingdoms  of  this  world  are  become 

The  liingdoriis  of  our  Lord,  and  of  his  Christ; 

And  he  shall  reign  for  ever  and  ever. 


16  And  the  four  and  twenty  elders,  which  sat  be- 


492 


WOES  UPON  THE  EARTH. 


fore  God  on  their  seats,  fell  upon  tlieir  faces,  and 
worshipped  God,  17  Saying, 

We  give  tbee  thanks,  O  Lord  God  Almighty. 
"Which  art,  and  wast,  and  art  to  come; 
Because  tliou  hast  taken  to  thee  thy  great  power,  and 
hast  reigned. 

18  And  the  nations  were  angrj,  and  thy  wrath  is  come, 
And  the  time  of  the  dead,  that  they  should  be  judged, 
And  that  thou  shouldest  give  reward  unto  thy  ser- 
vants the  proj^hets, 
And  to  the  saints,  and  them  that  fear  thy  name,  small 
and  great; 

And  shouldest  destroy  them  which  destroy  the  earth. 

These  passages  include  a  continuation  of  the  preceding  imagery. 
The  fifth  angel  sounded  his  trumpet  (v.  1),  and  a  star  (nneaning 
an  angel)  fell  from  heaven,  and  locusts  were  sent  down  to  de- 
stroy those  who  had  not  the  mark  of  the  righteous  in  their  fore- 
heads, intimating  that  dire  calamities,  probably  devastating 
wars,  were  to  fall  upn  the  earth.  The  sound  of  their  wings  is 
said  (v.  9)  to  be  as  the  sound  of  chariots  of  many  horses  run- 
ning to  battle.  The  sixth  angel  sounded  (v.  13),  and  another 
woe  was  pronounced  upon  the  wicked.  Another  angel  cried 
with  a  loud  voice  (x.  3),  and  seven  thunders  uttered  their  voices. 
The  angel  declared  that  time  should  be  no  longer.  Finally, 
(xi.  15)  the  seventh  angel  sounded,  announcing  the  third  woe 
upon  the  wicked,  and  the  winding  up  of  man's  destiny.  The 
salvation  of  the  righteous  is  complete,  and  a  halleluyah  of  praise 
ascends  from  the  twenty-four  elders  and  all  of  the  heavenly 
host. 

Revelations  xii.  10. 

And  I  heard  a  loud  voice  saying  in  heaven, 
Now  is  come  salvation,  and  strength, 


REVELATIONS  XIV.  2-18. 


493 


And  the  kingdom  of  our  God,  and  the  power  of  his 
Christ : 

For  the  accuser  of  our  bretliren  is  cast  down, 
Which  accused  them  before  our  God  day  and  night. 

Here  is  represented  joy  and  exultation  in  heaven  in  view 
of  the  triumph  of  the  church  of  Christ  over  her  enemies. 

Revelations  xiv.  2-18. 

2  And  I  heard  a  voice  from  heaven,  as  the  voice 
of  many  waters,  and  as  the  voice  of  a  great  thmi- 
der :  and  I  heard  the  voice  of  harpers  harping  with, 
their  harps ;  3  And  they  sung  as  it  were  a  new  song 
before  the  throne,  and  before  the  four  Beasts,  and 
the  elders :  and  no  man  could  learn  that  sonor  but 
the  hundred  and  forty  and  four  thousand,  which 
were  redeemed  from  the  earth.  4  These  are  they 
which  were  not  defiled  with  women ;  for  tliey  are 
virgins:  these  are  they  which  follow  the  Lamb 
whithersoever  he  goeth  :  these  were  redeemed  from 
among  men,  being  the  first-fruits  unto  God  and  to 
the  Lamb :  5  And  in  their  mouth  was  found  no 
guile :  for  tbey  are  without  fault  before  the  throne 
of  God. 

6  And  I  saw  another  Angel  fly  in  the  midst  of 
heaven,  having  the  everlasting  gospel  to  preach 
unto  them  that  dwell  on  the  earth,  and  to  every 
nation,  and  kindred,  and  tongue,  and  people,  7  Say- 
ing with  a  loud  voice.  Fear  God,  and  give  glory 
to  him ;  for  the  hour  of  his  judgment  is  come :  and 


FALL  OF  BABYLOK. 


"worslii]:)  lilm  that  made  heaven,  and  earth,  and  the 
sea,  and  the  fountains  of  waters. 

8  And  there  followed  another  Angel,  sa3''ing,  Baby- 
lon is  fallen !  is  fallen !  that  great  city !  because 
she  made  all  nations  drink  of  the  wine  of  the  wrath 
of  her  fornication.  9  And  the  third  Angel  followed 
them,  saying  with  a  loud  voice,  '  If  any  man  wor- 
ship the  Beast  and  his  image,  and  receive  Ids  mark 
in  his  forehead,  or  in  his  hand,  10  The  same  shall 
drink  of  the  wine  of  the  wrath  of  God,  which  is 
poured  out  without  mixture  into  the  cup  of  his 
indignation ;  and  he  shall  be  tormented  with  fire 
and  brimstone  in  the  presence  of  the  holy  Angels, 
and  in  the  presence  of  the  Lamb.  11  And  the 
smoke  of  their  torment  ascendeth  up  for  ever  and 
ever :  and  they  have  no  rest  day  nor  night,  who 
worship  the  Beast  and  his  image,  and  whosoever 
receiveth  the  mark  of  his  name.'  12  Here  is  the  pa- 
tience of  the  saints :  here  are  they  that  keep  the 
commandments  of  God,  and  the  faith  of  Jesus.  13 
And  I  heard  a  voice  from  heaven,  saying  unto  me, 
'  Write,  Blessed  are  the  dead  which  die  in  the  Lord 
from  henceforth.  Yea,'  saith  the  Sj)irit,  '  that  they 
may  rest  from  their  labors ;  and  their  works  do 
follow  them.' 

14  And  I  looked,  and  behold,  a  white  cloud,  and 
upon  the  cloud  one  sat  like  unto  the  Son  of  man, 
having  on  his  head  a  golden  crown,  and  in  his  hand 
a  sharp  sickle. 

15  And  another  Angel  came  out  of  the  temple, 


REVELATIOXS  XIV.  2-18. 


495 


crying  witli  a  loud  voice  to  liim  tliat  sat  on  the 
cloud,  '  Thrust  in  tliy  sickle,  and  reap  :  for  the  time 
is  come  for  thee  to  reaj) ;  for  the  harvest  of  the 
earth  is  rij^e.'  16  And  he  that  sat  on  the  cloud 
thrust  in  his  sickle  on  the  earth ;  and  the  earth 
was  reaped. 

17  And  another  Angel  came  out  of  the  temple 
which  is  in -heaven,  he  also  having  a  sharp  sickle.  18 
And  another  Angel  came  out  from  the  altar,  which 
had  power  over  fire ;  and  cried  with  a  loud  cry 
to  him  that  had  the  sharp  sickle,  saying,  '  Thrust 
in  thy  sharp  sickle  and  gather  the  clustei's  of  the 
vine  of  the  earth ;  for  her  grapes  are  fully  ripe.' 

This  chapter  consists  of  symbols  of  victory  on  the  part  of 
the  saints  over  their  enemies.  John  heard  a  voice  from  heave ti 
like  the  sound  of  many  waters.  This  probably  refers  to  an 
innumerable  number  of  the  heavenly  host,  singing  praises,  in- 
dividually and  yet  so  harmoniously,  that  there  appeared  to  be  but 
one  joyous  sound.  As  the  voice  of  a  great  thunder.  This  prob- 
ably relates  to  the  power  of  the  mighty  chorus.  Voice  of  harp- 
ers harping  with  their  harps.  This  expression  shows  particu- 
larly the  musical  character  of  that  immense  choir.  The  writer 
uses  the  term  citharais  [harps).  The  idea  is  that  vocal  and  in- 
strumental music  were  both  employed.  Each  one  who  su)ig 
performed  also  with  his  harp  at  the  same  time.  Theiy  sung  a 
new  song.  This  probably  means  simply  a  song  having  a  new 
iheme — a  song  which  none  could  sing  but  those  who  had  been 
redeemed  by  the  blood  of  Christ.  In  the  other  verses  quoted 
above,  several  angels  are  represented  as  uttering  curses  upon 
the  wicked,  or  blessings  upon  the  righteous. 


496 


TRIUMPH  OF  THE  SAINTS. 


Eevelatioxs  XV.  2,  3. 

2  And  tlie  first  vrent,  and  poured  out  liis  vial 
upon  tlie  earth :  and  there  fell  a  noisome  and  griev- 
ous sore  upon  the  men  which  had  the  mark  of  the 
Beast,  and  u_poti  them  which  worshipped  the  im- 
age. 

3  And  the  second  Angel  poured  out  his  vial  up- 
on the  sea;  and  it  became  as  blood  of  a  dead 
7)ian :  and  every  living  soul  died  in  the  sea. 

Here  commences  another  thrilling  scene.  Seven  angels  pour 
out  seven  vials  of  the  wrath  of  God.  Before  these  judgments 
fall  upon  the  wicked,  the  righteous  exult  as  victors  in  anticipa- 
tion. They  had  the  hcuys  of  God  (v.  2),  i.  e.,  those  used  in 
the  praises  of  Jehovah.  They  also  snng  the  song  of  Moses  and 
the  Lamh^  i.  e.,  they  sunc/  and  performed  upon  their  harps. 

Kevelatioxs  xvi.  1,  17,  18. 

1  And  I  heard  a  great  voice  out  of  the  temple 
saying  to  the  seven  Angels,  Go  your  ways,  and 
pour  out  the  vials  of  the  wrath  of  God  upon  the 
earth. 

17  And  the  seventh  Angel  poured  out  his  vial 
into  the  air ;  and  there  came  a  great  voice  out  of 
the  temple  of  heaven,  from  the  throne,  saying.  It 
is  done. 

18  And  there  were  voices,  and  thunders,  and 
lightnings  ;  and  there  was  a  great  earthquake,  such 
as  was  not  since  men  were  upon  the  earth,  so 
mighty  an  earthquake,  and  so  great. 

Now  everything  seems  to  be  ready  for  the  burst  of  ven- 


REVELATIONS  XVIII.  2,  18-23. 


497 


geance  from  the  Almighty  upon  the  wicked.  The  seven  vials 
were  to  be  poured  out  by  the  seven  angels  upon  the  earth, 
ocean,  rivers,  fountains,  and  heavens  above.  /  heard  a  loud 
voice  from  the  temple  (v.  1),  i.  e.,  from  the  temple  on  high,  or 
from  Jesus  who  is  in  that  temple.  The  Saviour  is  represented 
as  calling  with  a  loud  voice  upon  seven  angels  to  pour  out  their 
vials  of  v.  rath  upon  the  wicked.  The  idea  is  terrific  and  sub- 
lime.  Tl^ere  went  forth  a  loud  voice  from  the  temple,  from  the 
throne.,  Sfn/>nfj,  It  is  done  (v.  IT).  The  fact  that  thi'one  is  men- 
tioned v\  (juld  seem  to  indicate  that  Jehovah,  the  Father,  is  here 
represented  as  speaking.  The  last  clause  indicates  that  this  is 
the  cli^e  of  the  appalling  woes  which  w^ere  to  fall  upon  the  sin- 
ner, and  that  the  final  consummation  of  all  things  was  near  at 
hand.  The  writer  saw  in  prophetic  vision  its  premonitory 
lightnings,  heard  its  thunders,  and  felt  the  heaving  of  its  earth- 
quakes.   The  imagery  is  exceedingly  beautiful  and  grand. 

Revel ATioxs  xviii.  2,  18-23. 

2  And  lie  cried  mightily  witli  a  strong  voice, 
saying,  Babylon  the  great  is  fallen,  is  fallen,  and  is 
"become  tlie  habitation  of  devils,  and  the  hold  of 
every  foul  spirit,  and  a  cage  of  eveiy  unclean  and 
hateful  bird. 

18  And  cried,  when  they  saw  the  smoke  of  her 
bm'ning,  saying,  AVhat  city  is  like  unto  •  this  great 
city! 

19  And  they  cast  dust  on  theii-  heads,  and  cried, 
weeping  and  wailing,  saying,  Alas,  alas,  that  great 
city,  wherein  were  made  rich  all  that  had  ships  in 
the  sea,  by  reason  of  her  costliness  !  for  in  one  hour 
is  she  miide  desolate. 

20  Kejoice  over  her,  thou  heaven,  and  ye  holy 


FALL  OF  BABYLON". 


Apostles  and  Prophets :  for  God  liatli  avenged  you 
on  her. 

21  And  a  mighty  Angel  took  up  a  stone  like  a 
great  millstone,  and  cast  it  into  the  sea,  saying, 

Thus  with  violence  shall  that  great  city  Babylon  be 
thrown  down, 

And  shall  be  found  no  more  at  all. 

22  And  the  voice  of  harpers,  and  musicians,  and  of 

pipers,  and  trumpeters, 

Shall  be  heard  no  more  at  all  in  thee ;  ^ 

And  no  craftsman,  of  whatsoever  craft  he  de, 

Shall  be  found  any  more  in  thee ; 

And  the  sound  of  a  millstone 

Shall  be  heard  no  more  at  all  in  thee ; 

23  And  the  light  of  a  caudle 

Shall  shine  no  more  at  all  in  thee  ; 
And  the  voice  of  the  bridegroom  and  of  the 
bride 

Shall  be  heard  no  more  at  all  in  thee  : 
For  thy  merchants  were  the  great  men  of  the 
earth ; 

For  by  thy  sorceries  were  all  nations  deceived. 

In  the  fourteenth  chapter  the  destruction  of  Babylon  is  pro- 
claimed ;  in  chapter  sixteenth  the  shaking  of  its  foundations  is 
announced,  and  in  chapter  eighteenth  the  people  of  God  are 
called  upon  to  come  out  of  the  city,  and  her  final  and  entire 
destruction  declared.  An  angel  of  a  superior  order  carae  down 
from  heaven,  illuminating  the  earth  by  his  splendor,  and  cried 
with  a  loud  voice,  Babylon  the  great  is  fallen  (verses  1  and  2). 
Sea-faring  people  cried  out  with  the  greatest  surprise,  when 
they  saw  the  smoke  of  her  torments  ascend  (verse  18).  Then, 
in  verse  21,  a  mighty  angel  cast  a  stone  into  the  sea,  as  a  token 


REVELATIONS  XIX.     1-7.  499 

of  her  final  and  entire  overthrow,  and  reiterates  the  awful  an- 
nouncement. 

Revel xix.  1-7. 

1  And  after  these  things  I  heard  a  great  voice 
of  much  people  in  heaven  saying, 

Alleluia!  salvation,  and  glory,  and  honor,  and  power, 
unto  the  Lord  our  God  : 
2  For  true  and  righteous  are  his  judgments: 

For  he  hath  judged  the  great  whore, 
Which  did  corrupt  the  earth  with  her  fornication, 
And  hath  avenged  the  blood  of  his  servants  at  her 
hand. 

3  And  again  they  said,  Alleluia !  And  her 
smoke  rose  up  forever  and  ever ! 

4  And  the  four-and-twenty  elders  and  the  four 
beasts,  fell  doT\Ti  and  woi*shipped  God  that  sat  on 
the  throne,  sapng,  Amen ;  Alleluia  ! 

5  And  a  voice  came  out  of  the  throne,  saying, 
Praise  our  God,  all  ye  his  servants,  and  ye  that 
fear  him,  both  small  and  great. 

6  And  I  heard  as  it  Tvere  the  voice  of  a  great 
multitude,  and  as  the  voice  of  many  waters,  and  as 
the  voice  of  mighty  thunderings,  saying, 

Alleluia  !  for  the  Lord  God  omnipotent  reigneth. 
7  Let  us  be  glad  and  rejoice,  and  give  honor  to  him. 
For  the  marriage  of  the  Lamb  is  come, 
And  his  wife  hath  made  herself  ready. 

Here  seems  to  he  the  closing  up  of  the  mighty  conflict,  and 


500 


ANTHEMS  OF  PRAISE  IN  HEAVEN. 


the  hallelujahs  of  the  heavenly  world  ascend  in  view  of  the  glo- 
rious victory  of  the  saints  over  their  enemies.  I  heard  a  great 
voice  of  much  people  in  heaven  (verse  1).  Then  follows  the 
hymn  of  thanksgiving  by  the  heavenly  host.  In  the  sixth  verse 
we  perceive  the  immense  power  of  that  celestial  chorus — as  the 
voice  of  many  waters,  the  voice  of  mighty  thunderings.  The 
united  whole,  with  their  voices  and  golden  harps,  sounding  not 
only  melodiously,  but  as  mighty  thunderings.  Of  the  power, 
magnificence,  and  sublimity  of  such  a  scene,  we  can  form  but 
a  faint  conception  in  this  life. 


INDEX. 


Abeam — his  visit  to  Egypt ;  Knowledge  of  Music ;  goes  to  Canaan,  etc., 

33,  36,  41,  43,  69,  71. 
Acts  of  the  Apostles — Introductory  Remarks,  468 ;  Remarks  on  Acts 

xvi.  25  (p.  468). 
Abufe — Egyptian  musical  instrument,  68. 
./Ethiopia,  55. 
Alcaic  Verse,  238. 

Alamoth  (m'^i?'.?  <ilamdth),  virgins,  treble,  199,  200,  316,  322,  356. 
Alphabetical  or  Acrostic  Poetry  of  the  Hebrews,  239,  336,  345,  390, 
iintptl-bi^?  altaslthcth— term  in  Title  of  Ps.  Ivii.,  366,  378. 
Amos — Book  of.  Introductory  Remarks,  449 ;  Remarks  on  Amos  ii.  2 ;  iii. 

6  ;  V.  23 ;  vi.  5 ;  viii.  3,  10  (p.  492). 
Ameaphel,  King  of  Shinar,  32,  33. 
Antithetic  parallelism  in  Hebrew  poetry,  239. 

Apochalypse — Introductory  Remarks,  478  ;  Remarks  on  Rev.  i.  10  (p.  483); 

iv.  1;  V.  8-12  (p.  484);  vi.  10  (p.  486);  vii.  10-12;  viii.  1-13  (p.  487); 

is.  1,  9,  13,  14;  x.  3-8  (p.  490);  xi.  12-18  (491);  xii.  10  (p.  492);  xiv. 

2-18  (p.  493);  xv.  2,  3;  xvi.  1, 17,  18  (p.  496);  xviii.  2, 18-23  (p.  497); 

xix.  1-7  (p.  499). 
Aram,  descendants  of,  30. 
Ararat,  location  of,  18,  note. 
Arbaces,  the  Mede,  42. 
Argos,  lovers  of  music  in,  47. 
Arioch,  king  of  Ellasar,  37. 
Ark  of  the  Covenant,  196,  197,  203,  207. 
Ark,  Noah's,  where  located,  18. 

As.vPH,  master  of  music  under  David,  95,  156,  220,  225,  347,  361. 
Ashsiiur,  35. 

Assyria — its  early  History,  etc.,  27,  35,  39,  42,  43,  260. 

Assyrian  Empire,  36,  49. 

"        Monarchy,  36,  43. 
AvXeu,  aulec,  to  pipe,  462. 
AuAjyrar,  auletas,  flute-players,  461. 

501 


502 


INDEX. 


KvTio^,  aulas,  Greek  term  for  the  Hebrew  hhaTil,  160,  4*71. 

^1t2)^5  ^.^^''"y  ten-stringed  instrument,  342,  387,  397. 

^ntpn  rii^sJ^?  aycUtU  kashahkar,  term  in  Title  of  Ps.  xxii.,  333. 

Babel,  destruction  of,  32.  • 
Babylon — its  origin;  opinion  of  Politz;  ruins  of,  etc.,  44,  45. 
first  city,  30,  32. 

Babyloxl\ — its  location,  language  of  its  inhabitants,  etc.,  31,  34,  42.  70. 
Babylonian  Empire — the  later  one,  34,  42. 
Bagpipe,  440. 

Balaam,  a  Chaldsean  astrologer,  42,  244, 
Band  of  musicians,  Egyptian,  4  (Frontispiece). 
Belesis,  42. 

Bells,  cylindrical  of  the  Chinese,  etc.,  98. 

Belus,  tower  of,  Belus  king  of  Babylon,  32. 

Belzoni,  Travels  in  Egypt,  65,  128. 

Beni  Hassan,  88. 

Bethuel,  the  Syrian,  43. 

BiBAjf  EL-MoLAUK,  ruius  of,  67. 

BiLDAD,  Job's  friend,  294. 

BouNDAW,  Indian  musical  instrument,  54. 

Bruce,  Travels,  64. 

Cadmus,  the  Phoenician,  47. 
Cambyses,  a  Persian  monarch,  60. 
Canaan,  location,  language,  etc.,  48,  70. 
Cand.vhar,  in  India,  53. 
Carnac,  ruins  of,  67. 

Castanet,  a  Hebrew  pulsatile  musical  instrument,  61,  68,  96,  166. 
Chald.^ia — its  location  and  early  history,  etc.,  41,  42,  70. 
'XoAKog  ijx^v  {chalkos  echou),  a  brazen  wind  instrument,  470. 
Chant,  72,  452. 

China,  early  history  of,  language,  etc.,  48. 

Chinese,  probably  descendants  of  Shem ;  their  language ;  origin  of,  32. 

Chronicles,  first  and  second  Book  of;  Introductory  Remarks,  193;  Re- 
marks on  I  Chron.  vi.  31-33  (p.  194);  ix.  33;  xiii.  8  (p.  195);  xv.  16, 
19-22,  24,  27-29  (p.  196);  xvi.  5-36,  42,  43  (p.  200);  xxiii.  5;  xxv. 
1-7  (p.  204);  II  Chron.  v.  12,  13  (p.  206);  vii.  6  (p.  208);  ix.  11  (p. 
209);  xiii.  12-15  (p.  210);  xv.  14;  xx.  19-22,  28  (p.  211);  xxiii  13, 
18,  (p.  213);  xxix.  25-30  (p.  214);  xxv.  21  (p.  216);  xxxir.  12; 
XXXV.  15,  25  (p.  217). 


INDEX. 


603 


CiTBL\RA,  Hebrew  stringed  instrument,  81,  86,  91,  93,  294,  295,  387. 
Clarioxet,  sculiDtured  on  ruins  in  Egypt,  67. 

Corinthians,  first  Epistle  of  Paul  to ;  Introductory  Remarks,  470 ;  Re- 
marks on  I  Cor.  xiii.  1  (p.  470);  xiv.  7,  8  (p.  471);  xv.  52  (p.  472). 
Cornet,  173,  174,  196,  198,  211,  388,  439,  443. 

Crooked  Trumpet  of  the  Hebrews,  108,  120,  141,  162,  171,  177,  179,  187, 

199,  388. 
Ctaxares,  ii,  38. 

CriiBALS,  Chinese,  Egyptian,  Hebrew,  68,  96,  166,  205,  215,  222,  229,  470. 
Cymbals,  loud  sounding,  (^3^3^,  tsiltsncy,)  175,  198,  199,  203,  400. 

I'^LI'^'  ^^^'^'^^TI"'  Chaldee  term,  441. 

D.miEB,  the  Persian  term  denoting  the  tabret,  97. 

Dancing  among  the  ancient  Hebrews,  Egyj^tians,  etc.,  66,  67,  97,  104, 105, 
114,  151,  169,  170,  176,  177,  293,  400,  408,  462,  463. 

Daniel,  Book  of.  Introductory  Remarks,  437 ;  Remarks  on  Dan.  iii,  5,  10, 
15,  (p.  438);  vi.  18  (p.  440). 

Darits,  the  Mede,  38. 

Deborah,  Song  of,  143,  254. 

Deff,  the  Arabian  term  for  the  Hebrew  toph,  97. 

Denderah,  or  Tenttra,  an  Egyptian  temple ;  lyres  sculptured  on.  64,  65. 
Deuteronomy — Introductory  Remarks  to,  131 ;  Remarks  on  xxxi.  19  (p. 

132);  xxxi.  21,  22,  23  (p.  133);  xxxii.  44  (p.  133). 
Didactic  Poetry,  241,  263,  299,  349,  403. 

DiTHYRAMBIC  YeRSE,  455. 

Dramatic  Poetry,  241,  263,  299,  410,  418,  479. 
Drums,  54,  96,  98. 
Dulcimer,  bagpipe,  439. 

Ecclesiastes,  Book  of.  Introductory  Remarks,  405 ;  Remarks  on  Eccl,  ii. 

8 ;  iii.  4  ;  xii.  4  (p.  408). 
Edfou,  ruins  of,  66. 
£1^1^,  cdhuth,  354,  370. 

Egypt — its  early  history,  music  of,  painting,  sculpture,  etc.,  47,  55,  60,  79. 

El  Asaffif,  an  ancient  Egyptian  monument,  59. 

Elegiac  Poetry,  241,  255—257,  263,  264,  299,  428. 

Elethyia,  ruins  of,  65,  83. 

Elihu,  his  address  to  Job,  276. 

Eliphaz,  his  address  to  Job,  268. 

Ellas ar,  37. 

Encampment  of  the  Jews,  124. 


■604: 


INDEX. 

1 


a  shout,  397,  420. 
Epaxodos,  a  kind  of  parallelism,  241, 

Ephesiaxs,  Epistle  of  Paul  to;  Introductory  Remarks,  473;  Remarks  on 

Eph.  V.  19  (p.  473). 
Epic  Poetry,  263. 
Epopee,  a  kind  of  poetry,  479, 

ESARHADDOX,  40. 

Ethax,  a  Hebrew  master  of  music,  347,  385. 
Exrac  PoETEY,  263. 

Exodus — Introductory  Remarks,  101;  Remarks  on  Ex.  xv.  1-18  (p.  102); 
XV.  20  (p.  104);  XT.  21  (p.  106);  xix.  13  (p.  106);  xix.  16  (p.  109);  xix. 
19  (p.  Ill);  XX.  18  (p.  Ill);  xxxii.  17  (p.  112);  xxxiL  18  (p.  113); 
xxxii,  19  (p.  114). 

EzEKiEL,  Book  of,  Introductory  Remarks,  etc.,  264,  432  ;  Remarks  on  Ezek. 
vii.  14;  xxyi.  13  (p.  435);  xxrii.  25;  xxviii.  13;  xxxiii.  3-6;  xL  44 
(p.  436). 

Ezra,  Book  of.  Introductory  Remarks,  219  ;  Remarks  on  Ezra,  ii.  41,  65, 
70  (p.  219);  iii.  10-13  (p.  220);  vil  7,  24  (p.  222);  x.  24  (p.  223.) 

Feasts,  Jewish,  116. 

Flute,  double  and  single,  Egyptian,  etc.,  66,  67,  68,  83,  92,  160,  314,  439. 

Genesis — Introductory  Remarks,  77;  Remarks  on  Gen.  iv.  21  (p.  78);  xxix. 

34  (p.  94) ;  xxxi.  27  (p.  95). 
iT^in^'  g^ttit/i,  term  in  Title  of  Ps.  Tiii.  320,  380. 
GoMER,  son  of  Japheth,  46. 
Gongs,  Indian,  54. 
GoRNou,  ruins  of,  67. 

Gradational  parallelism  in  Hebrew  poetry,  239,  305,  334, 
Greece — its  first  settlement  and  early  history,  etc,  27,  46,  51. 
Guitar,  in  Egypt;  dichord  guitar,  Hebrew,  etc.,  55,  61,  62,  68,  81,  88-92, 
158,  189,  363,  383,  399,  401. 

Habakkltk,  Book  of,  Introductory  Remarks,  453 ;  Remarks  on  Hab.  i.  1-17 

(p.  453);  iii.  1,  3,  9,  13,  19  (p.  455). 
Ham,  his  settlement  and  that  of  his  posterity,  27,  30,  35,  233, 
3*ibn.  hhatil,  pipe  or  flute,  160,  161,  187,  314,  381,  416,  421,  427. 
tlib^'T^n?  humma^loth,  term  in  the  Title  of  Psahn  exx,,  391. 
Haran,  Laban's  place  of  residence,  59,  69,  80. 

Harp,  sculptured  on  the  ruins  of  2s  ineveh ;  Egyptian  harp,  Hebrew  ditto. 


INDEX. 


505 


etc.,  45,  61,  64,  66,  6Y,  68,  80-86,  lOY,  134,  151,  162,  164,  173,  189, 

198,  200,  203,  205,  213,  215,  294,  295,  842,  859,  387,  395,  897,  416, 

421,  439,  485,  495,  496,  500. 
ri*l!2l-2n)  hUdUotseroth,  straight  Hebrew  trumpet.  111,  120,192,  196, 

209,  2'll,  214,  216,  388,  443,  461. 
Hebrew  Language,  was  it  the  primitive  tongue  before  the  dispersion  ?  31. 
Hebrews,  their  knowledge  of  Egyptian  music,  71. 

Hebrews,  Book  of,  Introductory  Remarks,  476;  Remarks  on  Heb.  ii.  12; 

xii.  19  (p.  477). 
Hellenes,  successors  of  the  Pelasgi  in  Greece,  47. 
Hemax,  master  of  music  under  David,  95,  156,  179,  347,  383. 
Herculanel^,  ruins  of,  86,  98. 
Hexameter  Yerse,  238. 
m^H'  heydhqdh,  shout,  427. 

T 

Hieroglyphics,  54. 

fi^9ff(fyon,  a  musical  term,  323. 
Hindoos,  origin  of,  etc.,  49,  50,  51. 
Historical  Books  of  the  Old  Testament,  135. 
Historical  Books  of  the  New  Testament,  460. 
History  of  mankind — general  view  of,  1 8. 
Horn,  C|*!p,   qcren),  Hebrew,  107,  205. 

HosEA,  Book  of.  Introductory  Remarks,  442 ;  Remarks  on  Hos.  ii.  15;  v.  8 

(p.  443) ;  viii.  1  (p.  444). 
^r^Hj  dance,  104,  398. 

LvMBic  Verse,  238. 

Idyl,  a  kind  of  poetry,  241,  299,  410. 

Inachts,  a  Phoenician,  60. 

India — early  history  of,  poetry  of,  inliabitants  of  Shemitish  origin,  etc. 
50-55. 

Inscriptions,  Egyptian,  Assyrian,  Babylonian,  etc.,  44,  60. 

Instruments,  musical,  of  India,  Egypt,  Antediluvian  instruments,  166,  172. 

Introverted  Parallelism  in  Hebrew  poetry,  239. 

Isaiah,  Introductory  Remarks,  4^3;  Remarks  on  Isa.  iii.  16-18;  v.  1,  12 
(p.  415);  xii.  2,  5,  6  (p.  416);  xiv.  4-19  (p.  417);  xv.  9-11;  xviii. 
3  (p.  419);  xxiii.  15,  16;  xxiv.  8,  14,  16;  xxvi.  1;  xxvii.  2, 
(p.  420);  XXX.  29,  32;  xxxv.  1-10  (p.  421);  xxxviii.  20;  xlii.  10,  11 
(p.  422);  xliv.  23;  xlviii.  20;  xlix.  13;  li.  3,  11;  lii.  8,  9 ;  liv.  1 ;  Iv. 
12;  Iviii.  1:  Lxv.  14  (p.  423). 

IsHMAEL,  death  of,  etc.,  36,  39. 


506 


INDEX. 


IsiAC  Table,  an  Egyptian  monument,  61. 
Isles  of  the  Gextiles,  explanation  of,  23. 
IsMoxiDES,  tomb  of,  62. 

Jabloxski,  learned  in  Oriental  literature,  65. 

Japheth,  his  settlement  and  that  of  his  posterity,  etc.,  23,  SO,  46. 

Javax,  father  of  the  Greeks,  46. 

Jeduthtjn,  master  of  music  under  David,  95,  156,  34 Y. 
Jephthah's  Daughter,  a  musician,  150,  165. 

Jeremiah,  Book  of,  Introductory  Remarks,  424;  Remarks  on  Jer.  iv.  19-27 

(p.  425);  vi.  1-17;  xx.  13,  16;  xxxi.  4  (p.  426);  xxxi.  7,  12,  13;  xlil 

14;  xlviii.  33,  36;  li.  27,  48  (p.  427). 
Job,  Book  of.  Introductory  Remarks,  261 ;  Remarks  on  Job  i.  21  (p.  265) ; 

xvii.  6(p.  292);  xxi.  11,  12  (p.  293);  xxix.  13;  xxx.  9,  31  (p.  294); 

xxxriii.  7  (p.  295) ;  xxxix.  24,  25  (p.  296). 
Joel,  Book  of.  Introductory  Remarks,  445;  Remarks  on  Joel  ii.  1,  15  (p. 

448). 

Jonah,  Tomb  of,  44. 

Joseph,  when  carried  into  Egypt,  his  death,  etc.,  70,  77. 

Joshua,  Book  of.  Introductory  Remarks  to,  136;  Remarks  on  Josh.  vi.  4 

(p.  137);  vi.  5,  6,  8-10,  13,  16,  20  (p.  138). 
JuBAL,  an  antediluvian  musician — most  ancient,  etc.,  59,  78,  233. 
Jubilee,  year  of,  108,  118. 

Judges,  Introductory  Remarks,  142  ;  Remarks  on  Judg.  iii.  27  (p.  142);  v. 

1-31  (p.  143);  vi.  34;  vii.  8,  16,  18-20,  22  (p.  148);  xi.  34  (p.  150); 

xxi.  21,  23  (p.  151). 
I^ip,  me,  instruments,  199,  203,  209,  214,  216,  452. 

^irJ3,  hesedh,  the  father  of  the  Chaldseans,  41. 
Kettle-drum,  Egyptian,  etc.,  97. 

Kings,  Books  of,  Introductory  Remarks,  First  Book ;  Second  Book,  Intro- 
ductory Remarks  on  each,  186,  190 ;  Remarks  on  I  Kings  i.  34,  39,  40 
(p.  187);  i.  41;  iv.  32  (p.  188);  x.  12  (p.  189);  II  Kings  iii.  15 
(p.  190);  ix.  13  ;  xi.  14  (p.  191);  xii.  13  (p.  192). 

"liSlZl?  kimior,  harp,  Alexandrine  translators'  view,  etc.,  80,  86,  91,  162 
179,  189,  193,  209,  294,  295,  350,  359,  378,  387,  395,  436,  485, 

Ktvvpa,  kinura,  harp^  Hebrew  kinnor,  91,  92,  4*71,  485. 

Kf^apac,  kitharas,  cithara,  81,  93,  294. 

^'T^j^Tj^,  kittiyy'iin,  explanation  of,  25,  26. 

Kqa^VTuv,  kradzonton,  to  cry,  112. 

Kvfxf3a/iOv  a?.a/M^ov,  {kumbalon  alaladzon,)  tinkling  cymbal,  471. 


INDEX. 


507 


Laban,  a  Syrian  musician,  43,  59,  95,  105. 
Lamech,  an  ancient  poet,  232. 

Lamentations  of  Jeremiah,  Introductory  Remarks,  428 ;  Remarks  on 

Lam.  iii.  31-66  (p.  429);  v.  14  (p.  431). 
n^D/Ob?  lamnatseahh,  part  of  the  Title  of  Psalm  iv.  312. 
Languages,  diversity  of,  32. 
Language,  Babylonian,  31. 
Language,  Shemitish,  31. 
Lashaji,  location  of,  28. 
"^nb'  ^^'-'^j  Levi,  derivation  of,  94. 

Levites,  their  connection  with  the  Temple  service,  94,  1*79. 

Leviticus,  Introductory  Remarks,  115;  Remarks  on  Lev.  ix.  24  (p.  115); 

xiii.  24  (p.  116);  xxv.  9  (p.  111). 
Luke,  Gospel  of.  Introductory  Remarks,  464;  Remarks  on  Luke  ii.  13,  14 

(p.  464);  L  46-55,  68-79  (p.  465);  vii.  32  (p.  466);  xv.  25  (467). 
Lute,  a  musical  instrument,  90,  368,  383. 
Luxor,  ruins  of,  61. 

Lyre,  sculptured  upon  the  ruins  of  Nineveh ;  Hebrew,  four-stringed,  etc., 
81,  86-88. 

Lyric  Poetry,  104,  127,  147,  241,  264,  299,  307,  418,  479. 
M^NADES,  a  Thracian  tribe,  97. 

tnbnTSi  makhMalh,  a  term  in  the  Title  of  Psalm  liii.,  362,  383. 
Mark,  Gospel  of,  Introductory  Remarks,  463  ;  Remarks  on  Mark  vi.  22 
(p.  463). 

5^tT>pil1lj^7  inashroqiytha,  Chaldee  term  for  flute,  439. 

maik'il,  term  in  the  Title  of  Psalm  xxxii.,  and  in  other  places, 

339,  352,  354,362,  370. 
Matthew,  Gospel  of,  Introductory  Remarks,  461 ;  Remarks  on  Matt,  vi,  2; 

ix.  23  (p.  461) ;  xi.  17  ;  xxiv.  31  (p.  462). 
Mausoleum,  Egyptian,  67. 
Medinet-Abu,  ruins  of,  67. 
tibil/P^  m^hholoth,  dancing,  105,  338,  349. 
Memnonium,  ruins  of,  67. 
Memphis,  Pyramids  of,  in  Egypt,  etc.,  65,  66. 
t313?0>"572,  m^naanim,  sistra,  174,  196,  198,  439. 
Menes,  king  of  Egypt,  56. 
Mesha,  its  location,  29. 

•niyj^,  m^.shoky  soundeth,  explanation  of,  109. 


508 


INDEX. 


tD'^iTlb^^p)  m^isiltayim,  cymbals,  198,  203,  215,  222. 
tSTj^^P'  ^niqq^dhem,  21. 

tDsTlD/O'  '»nktam,  a  term  in  the  Titles  of  several  Psalms,  328,  365,  366. 

minnhn,  a  musical  term  in  Psalm  cl.,  400. 
Minstrel,  ('|^3'^?  m^naggen,)  191,  461. 
Miriam,  a  female  musician,  104,  106,  134,  150,  241. 

MiZMOR,  (*n72T-'2)  ^  ^erm  found  in  the  Titles  of  several  Psalms,  308,  388. 

MiZRAiM,  his  residence  and  that  of  his  posterity,  28. 

Moses,  death  of,  etc.,  39,  42,  101. 

Music,  its  effects  on  Saul's  disease,  164. 

Music,  origin  of,  Chinese  idea  of,  Rosseau's  idea  of,  15. 

Music,  view  of  by  Aristides,  Quintilianus,  and  Pfeiflfer,  15. 

Music,  views  of  Kircher,  Plutarch,  and  Soterius,  16. 

Music  OF  THE  Hebrews,  57. 

Music,  antediluvian,  Chaldsean,  Babylonian,  music  of  Argos  and  the 
Greeks,  43,  79. 

Music,  Phoenician,  Chinese,  Indian,  Egyptian,  etc.,  47,  49,  52,  57,  60,  65, 
69,  78,  79. 

Music,  where  first  used,  vocal,  used  in  prophesying,  etc.,  78. 
Music  OF  the  Temple,  95. 

labbm,  in  Title  of  Psalm  ix.,  322. 

Jj^lHD?  to  prophesy  with  instruments  of  music,  205. 

T  T 

vajSXa,  nabla,  or  vav?M,  naida,  the  Greek  term  for  the  Hebrew  nebhcl,  157.  ^ 
Nabonassar,  era  of,  34,  42. 

,  nagan,  to  play  on  a  stringed  instrument,  81,  312,  420,  422,  431. 

^p5,  naqahh,  a  musical  term,  161,  436. 
n^5?  natsahh,  312. 

-  T 

355,  nebhel,  Hebrew  musical  instrument,  81,  89,  157,  159,  160,  189,  198, 

209,  342,  367,  378,  397,  399,  401,  440,  452. 
Necropolis,  ruins  of,  in  Egypt,  67. 

lni!D^!\5'  n^g'inoth,  stringed  instruments,  80,  161,  295,  312,  316,  364,  370, 
372,  375,  422,  455. 

Nehemiah,  Book  of.  Introductory  Remarks,  224;  Remarks  on  Neh.  iv.  18- 
20  (p.  224);  vii.  1,  44,  67,  73  (p.  225);  x.  28;  xi.  22,  23  (p.  226);  xii. 
27-47  (p.  227);  xiu.  5,  10  (p.  229). 


INDEX. 


509 


inli'^n!]?  n^hmioth,  term  in  the  Title  of  Psalm  v,  314. 

New  Testament,  Introductory  Remarks,  poetry  of,  etc.,  240,  459 

NiEBUHR,  Travels,  62. 

NrwROD,  founder  of  the  Babylonian  monarchy,  27,  30,  34,  35. 
Nineveh,  founded  by  Nimrod,  ruins  of,  inscriptions,  etc.,  27,  35,  36,  48. 
NiNUS,  King  of  Assyria,  27,  40. 

NiNYAS,  40. 

NoAU,  wanderings  from  Ararat,  etc.,  21,  30,  43,  44,  59,  70. 
NoRDEN,  Capt.,  Travels,  61. 

Notation,  musical  among  the  Egyptians,  Hebrews,  Greeks  and  Romans, 
71,  72. 

Numbers,  Book  of,  Introductory  Remarks,  119;  Remarks  on  Num.  x.  2 
(p.  119);  X.  3  (p.  121);  x.  4  (p.  121);  x.  5  (p.  122);  x.  6  (p.  122);  x. 
7  (p.  125);  X.  8,  9,  10  (p.  126);  xxi.  17,  18  (p.  127);  xxiii.  21  (p.  128); 
xxix.  1  (p.  129);  xxxi.  6  (p.  129). 

Old  Testament,  Historical  Books  of,  135. 

Organ,  {'2^^'$^  wbh,  92,  93,  107,  134,  195,  203,  294,  295,  400,  401. 

T 

Ostmandyas,  or  Ismonides,  tomb  of,  62. 
OuPNEK-iiAT,  a  sacred  book  of  the  Hindoos,  51. 

Paganini  Nicolo,  Italian  violin  player,  164. 
UavdovQa,  pandoura,  an  Egyptian  stringed  instrument,  82. 
P(l'>'(^i,  musical  term,  452, 

-  T 

Parallelism  in  Hebrew  Poetry,  239,  403,  413. 
Passover,  Jewish,  116. 
Pastoral  Poetry,  241,  410,  450. 
Pelasgi,  early  inhabitants  of  Greece,  46. 
Penitential  Psalms,  316. 
Pentameter  Verse,  238. 

Pentateuch,  when  composed,  general  view  of,  etc.,  38,  75. 
Pentecost,  Jewish  festival,  116, 

Percussion  Instruments  of  Music,  Chinese,  Egyptian,  Hebrew,  50,  54,  96. 
I'^'lyl^DS'  p^sant^riyn,  Chaldee  term  for  psaltery,  440. 

Pfeiffer,  Travels  of,  61. 
PniLiE,  ruins  of,  65. 

Ph(enicia,  origin  of  its  inhabitants  and  language,  47,  48,  60. 
Pipe  of  Pan,  68,  92,  93,  134. 

Pipe,  Egyptian,  Hebrew,  68,  160,  187,  314,  416,  436. 
Plectrum,  sculptured  upon  the  ruins  of  Nineveh,  82,  83. 


dlO 


INDEX. 


PococKE,  Dr.  R.,  his  Travels,  61,  6  Y. 

Poetical  Books  of  the  Old  Testament,  Introductory  Remarks,  231. 
Poetry,  Hebrew,  general  view  of,  232, 

Poetry,  Hebrew,  31,  32;  examples  of,  102,  106,  127,  143,  180,  184,  200, 
233,  234,  235,  236,  241,  242,  246,  254,  256,  257,  265,  266,  268,  276, 
287,  292-296,  304,  306,  308,  311,  313,  315,  316,  319,  3.21,  323,  325, 
326,  327,  329,  330,  333,  335,  337,  338,  340,  342,  345,  347,  349,  350, 
352,  355-357,  359,  362-401,  403,  415-418,  421,  422,  425,  429,  433, 
438,  443,  446,  450,  453,  465,  480-483,  485,  492,  498,  499. 

Primitive  Toxgue,  31,  32. 

Prophetic  Poetry,  241,  245,  307,  413. 

Proverbs,  Book  of,  Introductory  Remarks,  402 ;  Remarks  on  Prov.  xi.  10 ; 

XXV.  20  (p.  404). 
'ipa7v/ioig  e/LLvoig,  psalmois  emnois,  473. 

Psalms  of  David,  Introductory  Remarks,  297;  Remarks  on  Ps.  i.  1-6 
(p.  304);  ii.  1-12  (p.  306);  iii.  1-8  (p.  308);  iv.  1-8  (p.  311);  v.  1-12 
(p.  3]  3);  vi.  1-10  (p.  315);  vii.  1-18  (p.  316);  viii.  1-9  (p.  319);  ix, 
1-20  (p.  321);  X.  1-18  (p.  323);  xii.  1-8  (p.  325);  xiii.  1-6  (p.  326); 
XV.  49;  xvi.  1-11  (p.  327);  xviii,  xx,  xxi,  1-13  (p.  329);  xxii.  1-31 
(p.  830);  xxiv.  1-10  (p.  333);  xxv.  1-22  (p.  335);  xxx.  1-12  (p.  337;) 
xxxii.  1-11  (p.  338);  xxxiii.  1-22  (p.  340);  xxxv.  27;  xxxvii.  1-40 
(p.  342) ;  xxxix.  1-13  (p.  345) ;  xlii.  1-11  (p.  347) ;  xliii.  1-5  (p.  349); 
xHv.  1-26  (p.  350);  xlv.  1-17  (p.  352);  xlvi.  1-11  (p.  355);  xlvii.  1- 
9  (p.  356);  xlix.  1-20  (p.  357);  1.  1-23  (p.  359);  li.  14;  lii.  3,  5  (p. 
361);  liii.  1-6  (p.  362);  liv.  1-7  (p.  363);  Iv,  Ivi.  1-6  (p.  364);  Ivii. 
1-11  (p.  365);  Hx.  1-17  (p.  367);  Lx.  1-12  (p.  369);  Lxi.  8;  Ixii.  4; 
Ixv.  13;  Ixvi.  1-20  (p.  370);  Ixviii.  1-4,  13-35  (p.  372);  Ixxi.  1-24 
(p.  375);  Ixxv,  Ixxvi,  Ixxvii.  7;  Ixxx,  Ixxxi.  1-16  (p.  378);  Ixxxii. 
2  ;  Ixxxiii.  8  ;  Ixxxiv.  4,  8 ;  Ixxxv.  2 ;  Ixxxvii.  1-7  (p.  380) ;  Ixxxviii. 
1-18  (p.  381);  Ixxxix.  1-27  (p.  383);  xcii.  1-15  (p.  385);  xcv.  1,  2; 
xcviii.  1-9  (p.  3S7 ;  c.  2;  ci.  1;  cv.  2;  cvi.  12;  cviii.  1,  3;  cxviii. 
14;  cxix.  1-8,  169-176  (p.  389);  cxx.  1-7  (p.  390);  cxxvi.  2;  c xxxii. 
9,  16;  cxxxv.  2  (p.  391);  cxxxvi.  1-26  (p.  392);  cxxxvii.  1-9  (394); 
cxxxviii.  1,  5 ;  cxl.  3,  5,  8;  cxliii,  6 ;  cxliv.  1-15  (p.  395);  cxlvii.  1,  7 
(p.  397);  cxlix.  1-9  (p.  398);  cl.  1-6  (p,399);  cli.  1-8  (p.  400). 

Psaltery,  a  stringed  instrument,  81,  91,  157,  173,  174,  189,  198,  203,  205, 
213,  215,  229,  293,  294,  342,  359,  367,  387,  401,  439. 

PsAMMETicus,  an  Egyptian  monarch,  60. 

PuL,  King  of  Assyria,  40. 

,  qarna,  Chaldee  term  for  the  cornet,  or  horn,  439, 


INDEX.  511 
'J'^.jy,  ^^orn,  107,  110,  138  439,  4G1. 

^^r''^]^'  9^y^^^'''^^>  Chaldee  term  for  the  Hebrew  kinnor,  and  Greek 
cithara,  91,  440. 

^,  ranan,  to  shout,  116,  203,  294,  296,  315,  380,  391,  404,  420,  457. 

T 

^p'n.,  raqadh,  to  dance,  293,  408,  416. 
Refrain,  in  Hebrew  poetry,  393. 

Romans,  Epistle  of  Paul  to,  Introductory  Remarks,  469 ;  Remarks  on 

Rom.  X.  9  (p.  469). 
5?:)'^,  ruah,  to  shout,  to  blow,  112,  117,  129,  458. 

Ruins,  Assyrian,  Babylonian,  Egyptian,  44; 

Russell,  Dr.  A.,  Travels,  60. 

Ruth,  Book  of,  Introductory  Remarks,  152. 

Sabbatical  Year,  Jewish,  118. 

sabh^ka,  Chaldee  term  for  sackbut,  439. 
lakiTLv^,  salpinx,  Greek  term  for  the  Hebrew  shophqr,  109,  111,  462,  471, 
472. 

1a/Li3vK7],  satiihuke,  saynbukee,  Hebrew  stringed  instrument,  81,  82,  440. 

Samuel,  Books  of.  Introductory  Remarks,  First  Book ;  Introductory  Re- 
marks, Second  Book;  Introductory  Remarks,  153,  171  ;  Remarks  on 
I  Sam.  iv.  5,  6  (p.  154);  x.  5  (p.  155);  xiii.  3;  xvi.  16,  18,  23  (p.  162); 
xviii.  6,  7,  10  (p.  165);  xix.  9,  20,  21,  23,  24  (p.  167) ;  xxi.  11  (p.  168); 
xxix.  5;  XXX.  16  (p.  169);  II  Sam.  ii.  28  (p.  171);  v.  5  (p.  172);  vi. 
14,  15,  16  (p.  176);  vi.  21  ;  xv.  10  (p.  177);  xviii.  16;  xix.  35  p.  178); 
XX.  1,  22  (p.  179);  xxii.  1-51  (p.  180). 

Sanscrit  Language,  of  Shemitish  origin,  52. 

Sappetic  Yerse,  238. 

Saul,  insanity  of,  cured  by  music,  163. 

Scale,  musical  of  the  Hindoos,  55. 

Schools  of  the  Prophets,  155,  168. 

selah  (nbo  or  n^iio)?  309, 310, 312, 319, 329, 330, 334, 352, 356, 357, 

359,  361,  364,  366,  368,  370,  372,  375,  378,  380,  381,  383,  385,  395, 
455. 
Semiramis,  40. 

D'^llj'^blljj  shalishim,  a  triangular  pulsatile  Hebrew  instrument,  96,  166. 
Shaw,  Dr.,  Travels  in  Egypt,  60. 

Shem,  his  settlement  and  that  of  his  posterity,  etc.,  29,  30,  35,  43,  52. 
ri^3"'^'lS  sheinhiith,  term  in  the  Titles  of  several  Psahns,  200,  316,  326. 


612 


1^  dka: 


n  sheynorieh,  eighth,  200. 

'jVritlj?  >^^^igg'}yon,  term  in  Title  of  Psalm  viii,  318. 

Shinar,  land  of,  30,  36,  42,  47. 

^^•p,  Hhlr,  song,  96,  132,  148,  199,  209,  213,  381. 

iSili'  sJtopItar,  crooked  Hebrew  Trumpet,  110,  118,  137,  148,  198,  211 

225,  296,  357,  388,  399,  420,  426,  443,  447. 
D'^SlUtD'  ^liofihannim,  term  in  the  Title  of  Psalm  xlv.,  and  found  in  other, 

places,  354,  370,  375,  378. 
Shout,  {X^'^y  reo,)  357. 
SiDON,  28. 

nn^ilJ?  simhhah,  mirth,  96. 

SiSTRUM,  sculptured  on  the  ruins  of  Egypt,  60,  61,  68,  96. 
Song  of  Solomon,  Introductory  Remarks,  409 ;  Remarks  on  ch.  ii,  12 
(p.  412). 

Straight  Trumpet,  Hebrew,  108,  117,  120,  134,  192,  388. 

Stringed  Instruments  of  Music,  45,  68,  80,  82,  134,  312. 

I,v/Li<ptjvia,  su7npho7iia,  symphony,  467. 

"Zvgiv^,  surinx,  Pipe  of  Pan,  93. 

Synthetic  Parallelism  in  Hebrew  Poetry,  239. 

Syria,  confounded  with  Assyria,  43. 

Tabernacle,  services  in,  etc.,  195,  207. 
Tabernacles,  feast  of,  116. 

Tabret,  a  Hebrew  pulsatile  musical  instrument,  96,  97,  105,  134,  150,  160, 
165,  293. 

Tambour  de  Basque,  the  larger  tambourine,  97. 
Tambourine,  Hebrew  pulsatile  musical  instrument,  96,  97,  134. 
Tambura,  a  Turkish  stringed  instrument  of  music,  88,  90,  97. 
tUSn?  to  handle,  80. 

-  T 

taqa,  blast  (of  a  trumpet),  121,  399,  435. 
Tarshish,  its  probable  locality,  26. 

TefSovvL,  tebouni,  Egyptian  term  for  stringed  instruments,  81,  82,  88. 
Temple  of  Solomon,  dedication,  etc.,  194,  204,  207,  221. 
Terah,  41. 

n^I'^^lil'  fo'm^,  aloud  noise,  117,  122,  129,  400,  426,  452. 
Thebes,  ruins  of,  etc.,  64,  65,  67,  309. 

Thessalonians,  First  Epistle  to,  Introductory  Remarks,  474  ;  Remarks  on 
I  Thess.  iv.  16  (p.  474), 


INDEX. 


513 


Timbrel,  same  as  tabret,  which  see. 

rjri'  ^<>P^*'  166,  198,  293,  398,  399,  416,  436. 

Tpiyovov,  trinonon,  Egyptian  stringed  instrument,  82, 
Trimeter  Verse,  238. 

Trumpet,  Egyptian,  Hebrew,  silver,  68,  107,  120,  125,  130,  13Y,  196,  213 

474,  483,  489. 
Trumpets,  feast  of,  116,  129. 

t^b^Sb^j  tselts^lim,  cjTubals,  175,  176,  198,  400. 
'TvfiTTavijv,  tampanon,  tympanum,  term  for  the  Hebrew  toph. 

nnnhh,  organ,  92,  93,  161,  295,  400,  406,  421,  439. 

T 

Ur  of  tue  Ciialdees,  43. 

Vedas  of  India,  origin  of,  etc.,  51. 
ViLLOTEAU,  M.,  Travels  in  Egypt,  etc.,  65.  68. 
Viol,  55,  92,  416,  452. 
Violoncello,  92. 

Wedding,  circumstances  of  in  ancient  times,  96. 

Xi  IIoAM  Ti,  a  Chinese  emperor,  destroys  the  early  literature  of  tlie  em- 
pire, 48. 
Years,  solar  and  luni-solar,  39. 
5^1,  yohhel,  trumpet,  107,  110,  137. 

Cpni  t^^V->  yoiiafh  elem  r^hhnqivi,  part  of  the  Title  of  Psalm 

Ivi.  365. 

Zkchariah,  Book  of,  Introductory  Remarks,  458  ;  Remarks  on  Zech.  ii.  10; 

iv.  7 ;  ix.  9,  14  (p.  458). 
ZKPnANiAH,  Book  of.  Introductory  Remarks,  456  ;  Remarks  on  Zeph.  i.  1 6  ; 

ii.  14  (p.  456);  iii.  14,  17  (p.  457). 
■^.^STj  ^•(}?nar,  to  sing,  148,  319,  375,  387,  392,  395,  397,  412,  416. 

tr^^OT'  zilurath,  song,  104. 

ZiN,  desert  of,  127. 

Zoi'iiAR,  a  friend  of  Job,  293. 


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G.  MiALL.   With  Illustrations.   12mo,  cloth.  $1.00. 

THE  MI  SSI  ON AR  Y  ENTERPRISE.  The  most  important  Discourses  in 
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THE  RELIGIONS  OF  THE  WORLD,  and  their  Relations  to  Christianity. 
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(5»> 


GOULD  AND  LINCOLN, 

59  WASHINGTON  STEEET,  BOSTON, 

Would  call  particular  attention  to  the  following  valuable  works  described 
in  their  Catalog-ue  of  Publications,  viz. : 

Hugh  Miller's  Works. 
Bayi&e's  Works.      Walker's  Works.      Miall's  Works.      Btmgener's  Work* 
Annual  of  Scientific  Discovery.     Knight's  Knowledge  is  Power. 
Krummacher's  Suffering  Saviour, 
Banvard's  American  Histories.    The  Aimwell  Stories. 
■ITewcomb's  Works.    Tweedie's  Works.    Chambers's  Works.    Harris' WorfcaC' 
Kitto's  Cyclopaedia  of  Biblical  Literature, 
lire.  Knight's  Life  of  Montgomery.      Kitto's  History  of  Palestine. 
Whewell's  Work.    Wayland's  Works.    Agassiz's  Work*. 


Williams'  Works.    Guyot's  Works. 
^QtlDZ&pson's  Better  Land.    Kimball's  Heaven.  Valuable  Works  on  MissiOWW 
Haven's  Mental  Philosophy.    Buchanan's  Modern  Atheism. 
Cruden's  Condensed  Concordance.    Eadie's  Analytical  Concordajice* 
The  Psalmist :  a  Collection  of  Hymns, 
Valuable  School  Books.    Works  for  Sabbath  Schools. 
Memoir  of  Amos  Lawrence, 
f  oetical  Works  of  Milton,  Cowper,  Scott.     Elegant  Miniature  Volujaes. 
Arvine's  Cyclopaedia  of  Anecdotes. 
Bipley's  Notes  on  Gospels,  Acts,  and  Komans. 
Sppague's  European  Celebrities.    Marsh's  Camel  and  tho  Hallig. 
Boget's  Thesauriia  of  English  Words. 
Haekett's  Notes  on  Acts.    M'Whorter'a  Yahveh  Christ, 
Siebold  and  Stannius's  Comparative  Anatomy.  Marcou's  Geological  2t!rap, 
Beligious  and  Miscellaneous  Works. 
Works  in  ths  various  Departments  of  Literatxire,  Scionoe  and  Art. 


DATE  DUE 


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